COLORADO SYMPHONY / DOJ APPEAL / NACUSA COMPETITION / EVENTS

November 25th, 2016

11/25/16

I. COLORADO SYMPHONY LOOKS UP – AND SEES MORE CHALLENGES
II. BMI RESPONDS TO DOJ APPEAL OF FRACTIONAL LICENSING RULING
III. NACUSA COMPOSITION SUBMISSIONS FROM EAST COAST MEMBERS
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. COLORADO SYMPHONY LOOKS UP – AND SEES MORE CHALLENGES

Here is quite an interesting and wide ranging article about
the Colorado Symphony. We’re putting the section about
the Colorado Symphony vs. the AFM because of it’s import
the AFM Membership…

Excerpted from the article concerning the AFM:

The symphony plans to expand not only its concert
season, but its work in recording soundtracks and
background music, its work as a backup orchestra
for pop and rock musicians, and more.

The bad news? Well, the Symphony is mired in a
long-standing and complex dispute with the American
Federation of Musicians about these non-concert-hall gigs.

What do you want first – the good news? Okay. The
Colorado Symphony finally posted a budget surplus
for the first time in its history. It’s back from the brink
of death, with a growing multi-million-dollar endowment
and a raft of new and returning corporate sponsors. It’s got
a peppy new music director designate. The symphony plans
to expand not only its concert season, but its work in
recording soundtracks and background music, its work as
a backup orchestra for pop and rock musicians, and more.

The bad news? Well, the Symphony is mired in a long-standing and
complex dispute with the American Federation of Musicians about
these non-concert-hall gigs, for one. And the City of Denver’s going
to tear down the symphony’s home, Boettcher Concert Hall, and
shunt it into a new venue which is half the size and which the
symphony must share with other arts groups. Given these challenges,
can the symphony sustain its successful momentum?

The orchestra is awaiting the decision of an administrative
-law judge in the wake of a September 14 hearing concerning
points of contention between it and the American Federation
of Musicians union. Oddly, Colorado Symphony musicians
are on management’s side in the case. Much of the dispute
stems from the symphony’s desire to diversify its revenue
streams.
In its Consolidated Financial Statements of June 20, 2016,
the symphony characterized the dispute as follows:

“Our collective bargaining agreement with the American
Federation of Musicians of the United States and Canada
(AFM) expired September 30, 2013, after which we attempted
to negotiate in good faith a successor agreement with
changes to certain terms governing the musicians’
compensation for work on SOUNDTRACKS, AUDIO/
VIDEO BROADCASTS AND OTHER ELECTRONIC MEDIA
(emphasis added), which were necessary to allow the
Symphony to take advantage of new and emerging
performance opportunities. We  were unable to reach
agreement with the AFM, and, therefore, we implemented
the changes in October 2014.”

“The American Federation of Musicians tends to foster
that ‘us versus them’ mentality,” says Kern. “It thinks
that it knows better what’s good for the organization
and the musicians. Management is viewed negatively –
but that’s not what goes on here. We have more of a
partnership with the musicians than any orchestra
in the United States.”

Meanwhile, Michael Allen, president of AFM Local 20-623,
writes that “Everything I know about this dispute fills
up four 1.5-inch three-ring binders.” The allegations
involved include unfair labor practice charges, employer
domination and refusal to furnish information. Colorado
Symphony musicians are also looking to EXIT AFM
REPRESENTATION (Emphasis added.), but this idea can’t
be pursued legally until the prior litigation is ended.”

[COLLEAGUES: Reading the above makes it clear that the
Colorado Symphony wants to begin recording for
Soundtracks and Video, but the AFM is trying to block
that (You can guess whom they are working on behalf of
here). So much so that the orchestra is trying to find
a way to free itself from the AFM, much as Seattle did.]

“ . . .The matter currently before the administrative law
judge is regarding the unfair labor practice charge and
NOT the issue of representation,” Allen writes, “though
the outcome of the hearings will certainly have on
impact on the issue of representation.”

THE ARTICLE IN FULL:

Denver’s symphony orchestra has always ridden a sine wave of ups
and downs. It originated as the Civic Symphony Orchestra, a
volunteer community ensemble. In 1934, the group professionalized
itself under the name of the Denver Symphony Orchestra. As such,
it persisted until March 1989, brought low by financial woes.
DSO musicians Terry Smith and John Weatherill led the initiative
to regroup, and the Colorado Symphony sprang to life in the
DSO’s place in May 1990.

However, the Colorado Symphony eventually faced financial
hardships. A spate of financial problems threatened the
organization in 2000. Eleven years later, a renewed shortfall
of revenue triggered the cancellation of concerts and the
resignation of two-thirds of the symphony’s board of trustees.
The emergence of Jerry and Mary Rossick Kern, current
co-chairs of the board, over the past fifteen years as
problem-solvers led to the symphony’s newfound
financial stability.

“It’s great to have cash in the bank,” says Jerry Kern, who
serves as the symphony’s CEO as well. “The place was never
adequately capitalized and adequately supported by the
community. We have come a long way toward resolving that.”

On June 30, 2015, the symphony ended the season with
$7,000 in cash – just enough to buy a 2006 Honda Civic,
in theory. On June 30, 2016, the surplus stands at more
than $1.7 million. Any organization, particularly an arts
organization, that can demonstrate a higher net worth
enjoys a more solid financial position and inspires greater
interest from potential contributors.

“Erasing the deficit expands the prospective donor base,”
Kern says. “It’s like the stock market. It takes money to
make money.”

Kern’s speech has the crackle and tang of old-school
New York, where he plied a successful career as a lawyer
(he’s now in his late seventies). Extensive work with
nonprofits and performing-arts organizations gives
him a unique amount of experience and insight as
to what works and what doesn’t in what is, after all,
a branch of showbiz.

“We make music and that’s it,” he says. “We feel that
it’s our obligation to create the best of whatever music
is out there. We happen to make the best music in
the state of Colorado.”

Much of the symphony’s success can be attributed to
its adaptability. Kern was quoted in the Denver Post
on October 12, 2011, as saying, “’The 21st-century
orchestra is not going to be the same as the 19th-
or 20th-century orchestra.’” Like many other symphony
orchestras across North America, the Colorado Symphony
has diversified its offerings to include a much greater
portion of contemporary fare.

A flip through the symphony’s 2016-2017 season calendar
tallies a near-even split between what would traditionally
be considered “serious” concert-hall fare and crossover events –
collaborations with contemporary groups and artists such
as Elephant Revival, Stewart Copeland and Ben Folds, pop
and jazz excursions and holiday shows. There is a Symphonic
Tribute to Comic Con, The Music of Michael Jackson, and
Pokemon Symphonic Evolutions. The symphony’s upcoming
Harry Potter and the Sorcerer’s Stone: In Concert sold out
its first two performances, then added a third and promptly
sold that out.

So what’s wrong with being popular? All of Denver’s
symphonic leaders of distinction to date have been dedicated
to popularizing the organization. Saul Caston, DSO music
director from 1945-1964, took the orchestra on tour,
initiated school outreach plans, and performed outdoors
at Red Rocks Amphitheatre. Brian Priestman, a beloved
and ebullient Brit, led the orchestra from 1970 to 1979,
garnering the greatest amount of community support to
date. (Classical station KVOD and dry-goods giant May
D & F used to raise money through a weekend-long
annual marathon. The orchestra even used to have a
kissing booth at the People’s Fair.) Marin Alsop, a disciple
of Leonard Bernstein, scheduled new work, led engaging
outreach programs, recorded extensively with the
orchestra for the Naxos label, and effectively evangelized
for the local classical scene from 1993 to 2005.

Now the musical directorship will transfer to the present
associate conductor of the Cleveland Orchestra, 37-year-old
Brett Mitchell, who takes up the position formally on July
1, 2017. Is Mitchell the kind of committed, charismatic
leader the symphony needs?

Kern is a staunch supporter, of course. “When you look at
a guy like Brett Mitchell, who’s committed to spending no
less than 25 weeks a year in Denver, to move here with his
wife, well, we haven’t had that since Marin Alsop,” he says.

“It’s not my first rodeo,” says Mitchell, who’s currently braving
Denver’s insane housing market. In a short span of years, the
conductor has accumulated a significant amount of experience,
ranging from opera to leading the Cleveland Orchestra’s
Youth Orchestra. He’s excited about the challenge ahead,
praises the musicians (“They’ve been doing their part in
this place for so long that it’s a labor of love”) and looks
forward to conducting the full range of concert offerings.

“Hey,” the Seattle native says, “I am not the guy who did
nothing but listen to Mozart growing up.” He confesses to
playing a little alto sax à la David Sanborn – “Hey, it was the
’80s!” – but he didn’t really feel the impulse to conduct
until his freshman year in college.

“At first I thought I would be a band teacher,” he says.
“Mr. Holland’s Opus.” Once he determined his career path,
he studied extensively with such prominent conductors
as Alsop, Kurt Masur and Lorin Maazel. However, he
doesn’t disdain the popular fare.

“I think that, having been a staff conductor, I’ve played just
about every kind of music there is for orchestra, and I love
it all,” Mitchell continues. “I want to do the pop shows and
the movies. My interest is to appear on every series, not
just the masterworks. Those works need to be performed
with the enthusiasm they deserve because they mean
something. I mean, John Williams [composer of Star Wars
et al.] was my intro to orchestra. That’s a gateway.
Developing a broad footprint, having enormous diversity
and variety — those are gateways.

“With an audience, you need to develop relatability,”
he goes on. “If you are doing the same thing over
and over again, people can shut you out. The way
that we have it is not as a museum, but as part of
a continuum. How do you make music that opens
ears in a new way that doesn’t make it intimidating?
We want to be responsive, not reactive. We’re not
dumbing down anything at all. The presentation is
managed differently, and there’s more salesmanship
to it. We’re just trying to have fun and share these
extraordinary experiences.”

So far, so good. All is not beer and Skittles for the
symphony, however.

The orchestra is awaiting the decision of an administrative
-law judge in the wake of a September 14 hearing concerning
points of contention between it and the American Federation
of Musicians union. Oddly, Colorado Symphony musicians
are on management’s side in the case. Much of the dispute
stems from the symphony’s desire to diversify its revenue
streams.
In its Consolidated Financial Statements of June 20, 2016,
the symphony characterized the dispute as follows:

“Our collective bargaining agreement with the American
Federation of Musicians of the United States and Canada
(AFM) expired September 30, 2013, after which we attempted
to negotiate in good faith a successor agreement with
changes to certain terms governing the musicians’
compensation for work on soundtracks, audio/video
broadcasts and other electronic media, which were
necessary to allow the Symphony to take advantage of
new and emerging performance opportunities. We
were unable to reach agreement with the AFM, and,
therefore, we implemented the changes in October 2014.”

“The American Federation of Musicians tends to foster
that ‘us versus them’ mentality,” says Kern. “It thinks
that it knows better what’s good for the organization
and the musicians. Management is viewed negatively –
but that’s not what goes on here. We have more of a
partnership with the musicians than any orchestra
in the United States.”

Meanwhile, Michael Allen, president of AFM Local 20-623,
writes that “Everything I know about this dispute fills
up four 1.5-inch three-ring binders.” The allegations
involved include unfair labor practice charges, employer
domination and refusal to furnish information. Colorado
Symphony musicians are also looking to exit AFM
representation, but this idea can’t be pursued legally
until the prior litigation is ended.”

“ . . .The matter currently before the administrative law
judge is regarding the unfair labor practice charge and
NOT the issue of representation,” Allen writes, “though
the outcome of the hearings will certainly have on
impact on the issue of representation.”

Then there’s Boettcher. It was the first symphony hall
in the round in the United States when it was built in
1978, and since it opened, its innovative design was
constantly overshadowed by acoustical problems and
a lack of attendance. A $40 million project to upgrade
the facility, funded by a 2007 bond issue, was scrapped
by the city, and the funds were diverted to other projects.

Now the city plans to demolish Boettcher and relocate the
orchestra to a new music hall, “supporting the Symphony
and also a diverse range of other musical groups and
forms. This hall replaces Boettcher Concert Hall, offering
a better and more intimate experience, appropriate in
size and form for traditional and contemporary groups,”
according to the Executive Summary of the city’s Arts &
Venues Department’s Next Stage plan.

Next Stage is a massive revitalization plan that intends
to rework the cultural center in and around 14th and
Champa Streets into an integrated, mixed-use neighborhood,
leaving the Denver Center Theatre Complex, the Ellie Caulkins
Opera House and the Buell Theatre unchanged, but making
over practically everything else. Three newly designated
“opportunity sites” will sandwich arts venues between
ground-level retail spaces and commercial towers above.

“The new image of the Arts Complex is that of a community
living room,” announces the 88-page Next Stage prospectus.
“DPAC’s fortress-like enclosure should become a place that
is always open and always active with informal programming.”

The symphony and the city have been at loggerheads on
the issue since the plan was first rumored in 2014. The
city points to the low seat counts, “changing demographics
that have different cultural consumption patterns,” and
the “declining audiences for traditional performing arts,”
going so far as to cite the complex’s present “economic
and racial inaccessibility” – a long way of saying its
events are geared toward rich white folks.

Architect Hugh Hardy, who designed Boettcher and whose
company is on board with the Next Stage plan, was more
explicit. “The specific character of the Arts Complex
will come from its emphasis upon use by the largest
possible cross-section of the community, amateur
and professional alike, and not upon the use by a
favored few,” he writes. “The true innovation of the
Music Hall will similarly lie in the fact that it is being
built to encourage the citizens of Denver to share in
the making of music. Such an idea is quite different
from using the hall as a device for furthering the
remote presentations of a musical aristocracy.”

In response, Kern has termed Next Stage “poor civic
planning.” Boettcher has 2,362 seats. The new music
hall is slated to have 1,200. There sits the practical
crux of two differing visions. If the symphony’s
revival continues and ticket sales and subscriptions
rise — where will the patrons sit?

“We would like to see more seats, maybe 1,500.
It’s a little unclear, or a lot unclear, what shape
the Next Stage plan will finally take or how long
it will take,” says Kern. “Right now, it’s a
construct of the consultants.”

Bran Kitts, director of marketing and communications
for the city’s Arts & Venues Department, says: “We
are now in the post-conceptual, pre-practical stage.
Recommendations on financing and governance are
due to the mayor’s office by the end of the year.”

“One of the down sides of the performing complex,”
Kitts continues, “is that it’s busy on show nights,
but not particularly inviting on dark nights. We are
looking to make the area a focal point, to have good
community facilities there, so that people feel they
have a standing invitation to visit.”

As to the need to tear down Boettcher, Kitts identifies
problems such as its flawed acoustics, staging and
setup problems, and lack of attendance.

“If they’re not full to begin with now, you scale them
down,” Kitts says. “You take some of these complaints
into account, and you also look into the future. What
does the technology look like? That factors in. We
have to think about younger audiences, not just
older audiences, and not just the musicians, but
the patrons and fans.”

Kern says, “We need a home. We are happy to
cooperate with the city – as long as people
continue to listen to us and recognize our needs.”

The city states that “it is envisioned that the Boettcher
Concert Hall will remain operational until after the
construction of the Music Hall . . . at 14th and
Arapahoe.” Whether the city is simply trying to
monetize its underused property with its Next Stage
plan, or whether it will trigger a new flowering of
the symphony, a fresh intersection between the arts
and all of the city’s inhabitants, remains to be seen.

In the meantime, the symphony will continue to
implement its own revitalization program, playing
in the aging confines of its once-state-of-the-art
home, waiting to see what its new digs will look like,
hoping that its labor disputes will end, freeing it
up to monetize new, non-standard musical opportunities.

And what about the traditional repertoire? Is the
great orchestral music of the past doomed to fade
out of the cultural conversation? Given the new
political climate, the future looks bright for neither
the arts nor the sciences. Is the concert hall, like
the movie palace, merely a lingering cultural remnant
where dwindling audiences still fetishize their antiquated
cultural ceremonies?
Says Mitchell, “We are always lamenting that this tradition
is going away, but it’s not. Did you know that TIME
magazine pronounced the death of classical music?
They did! — in 1961.”

It appears that the Colorado Symphony will continue
to roll with the punches.
========================
II. US DEPARTMENT OF JUSTICE TO APPEAL 100% LICENSING AGREEMENT

The US Department Of Justice has confirmed it will appeal the
impromptu court ruling that overturned its decision on whether
or not American collecting societies BMI and ASCAP must
operate a 100% licensing system.
All you consent decree fans out there will remember that
when the DoJ reviewed the regulations governing the
collective licensing of song rights by American performing
rights organisations BMI and ASCAP, it concluded earlier this
year that both societies should be offering 100% licences.
But the two societies, and pretty much every American
songwriter and music publisher, insisted the government
department had got it wrong, wrong, wrong.

Under a BMI licence, 100% licensing would mean that a
licensee would be able to use any song in the society’s
catalogue, even if BMI only controlled a slice of said song.
Traditionally the licensee would need a separate license
from whichever entity or entities controlled the other
slices of a co-owned work, which might be ASCAP or
smaller American PROs SESAC or GMR. Under the 100%
licensing system, BMI would receive all the royalties and
would then need to pay the other societies their share.

As soon as the DoJ confirmed its conclusion on this point,
ASCAP said it would lobby Congress on the issue, while
BMI took the matter to court. In September, at what was
expected to be hearing to discuss the time tabling for
that court case, the judge who oversees the BMI consent
decree, Louis Stanton, reached an immediate surprise
judgement, ruling in BMI’s favour. The DoJ had got it
wrong with all that 100% licensing nonsense, and BMI
was perfectly entitled to operate the opposite system,
aka fractional licensing.

The DoJ’s appeal means that Stanton’s interpretation
of BMI’s consent decree will now be considered by the
Second Circuit court. BMI said on Friday that the
government agency’s decision to appeal the ruling
was “disappointing” but not a surprise. BMI boss Mike
O’Neill added: “While we hoped the DoJ would accept
Judge Stanton’s decision, we are not surprised it
chose to file an appeal”.

He went on: “It is unfortunate that the DoJ continues
to fight for an interpretation of BMI’s consent decree
that is at odds with hundreds of thousands of
songwriters and composers, the country’s two
largest performing rights organisations, numerous
publishers and members of the music community,
members of Congress, a US Governor, the US
Copyright Office and, in Judge Stanton, a federal
judge. We believe Judge Stanton’s decision is
correct and look forward to defending our position
in the Court Of Appeals for the Second Circuit”.

Rival PRO ASCAP backs BMI on this issue, the
assumption being that if a court rules in BMI’s
favour on 100% licensing, the same principle
will have to be applied to its consent decree.
Its CEO, Beth Matthews, said this weekend: “The
Second Circuit’s ruling in this case will affect the
rights of more than a million American songwriters
and composers, thousands of whom have expressed
strong opposition to the DoJ’s position, and we are
hopeful the court will affirm Judge Stanton’s decision”.

She concluded that “ASCAP looks forward to resolution
of this matter as we continue to advocate for modernising
the consent decrees for today’s world”.

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

III. NACUSA COMPOSITION SUBMISSIONS FROM EAST COAST MEMBERS

Plans are being made to sponsor one concert in New York City during
the 2017 spring season. The event will mark and celebrate NACUSA’s
84th season.

The program will feature works by composers who are current members
of the East Coast Chapter of the National Association of Composers, USA.

Composers interested in participating in these programs are invited
to submit scores for consideration to:

MAX LIFCHITZ
Chair, Program Committee
P.O. Box 5108
Albany, NY 12205-0108

The deadline for the receipt of scores is Thursday, December 1, 2016.

Compositions for voice, solo instruments and/or chamber ensembles will
be considered.

All scores should be clearly labeled with the name, address, current
phone number and e-mail of the composer.

Please submit xerox copies of scores only. Do not send parts. Include
a brief up-to-date biographical sketch. If available, please also send
a CD recording of the submitted work(s). Submitted materials cannot
be returned.

Composers will be responsible for engaging and paying their performers.
Composers will also be responsible for supervising rehearsals and
performance of their work. The East Coast Chapter of NACUSA can only
assume responsibility for expenses involved in renting the hall,
printing programs and publicity.

Current members of NACUSA‚s East Coast Chapter will be considered for
inclusion. Only members who have paid their dues for 2016-17 will be
onsidered. Scores should be accompanied by a check for $30 to cover
East Coast Chapter dues.

Please make check payable to the National Association of Composers,
USA. In the lower left corner of the check, please indicate that
it is for East Coast Chapter dues.

Prospective members are encouraged to submit works, but should do
so with accompanying membership fee.

Composers whose works are selected will be notified by January
15, 2017.

The National Association of Composers, USA will celebrate its
84th anniversary during the 2016-17 season. Founded by composer/
conductor Henry Hadley, it began its activities in New York
City during the 1932-33 season.

Max Lifchitz
http://www.music-usa.org/nacusa
Read the rest of this entry »

BMI RESPONDS / PACIFIC SYMPHONY / NACUSA / EVENTS

November 11th, 2016

11/11/16

I. BMI RESPONDS TO DOJ APPEAL OF FRACTIONAL LICENSING RULING
II. PACIFIC SYMPHONY
III. NACUSA CONCERT NOVEMBER 15th
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. BMI RESPONDS TO DOJ APPEAL OF FRACTIONAL

LICENSING RULING

Dear BMI member,
As you know, on September 16 federal Judge Louis Stanton

issued an order rejecting the U.S. Department of Justice’s

(DOJ) recent interpretation of the BMI consent decree,

concluding that BMI is free to engage in the fractional

licensing of musical works. As we expected, the DOJ

filed a motion today to appeal that decision. Rest assured

that BMI is well prepared to once again defend our position

in court.

I would like to share my statement to the press regarding

the appeal:

“While we hoped the DOJ would accept Judge Stanton’s

decision, we are not surprised it chose to file an appeal.

It is unfortunate that the DOJ continues to fight for an

interpretation of BMI’s consent decree that is at odds

with hundreds of thousands of songwriters and composers,

the country’s two largest performing rights organizations,

numerous publishers and members of the music community,

members of Congress, a U.S. Governor, the U.S. Copyright

Office and, in Judge Stanton, a federal judge.

 

We believe Judge Stanton’s decision is correct and look

forward to defending our position in the Court of Appeals

for the Second Circuit.”

 

As always, I will continue to update you on further happenings

on this front. In the meantime, please know that we are

approaching this development in the same way that led us

to our initial victory – by fighting to protect your rights

and maximize the value of your music.

Mike O’Neill

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

II. ANOTHER PACIFIC SYMPHONY ARTICLE

As the music industry changes, the Pacific Symphony tries to keep up
Michael Hiltzik

Subscribers to the Pacific Symphony’s 12-concert classical series are
marking their calendars for the next performance later this month,
featuring the distinguished Spanish pianist Joaquin Achucarro in
the Grieg Piano Concerto. They should mark it with an asterisk,
because the orchestra is talking about going on strike.

The group’s 84 musicians (four more seats are currently vacant)
have been working without a contract since Aug. 31, when their
last four-year contract expired. They rejected management’s last
contract offer on Oct. 23. No talks are currently scheduled, and
the players are getting anxious about what happened last time,
when the negotiations stretched over a year and a half.

“Time is of the essence,” says Adam Neeley, a violist and head
of the bargaining committee for the players, who are members
of the American Federation of Musicians. “We have a clear
mandate from the members that we’re not going to keep
playing and playing without any negotiations.”

Labor unrest seems to be sweeping through the U.S. symphony
corps, with a strike at the Pittsburgh Symphony entering its second month
and a work stoppage at the Fort Worth Symphony Orchestra causing
the cancellation of concerts through December. A two-day strike
staged in September by musicians of the storied Philadelphia
Orchestra — who hoped to recover some of the pay they lost
during the orchestra’s 2011 bankruptcy —  forced cancellation
of its season-opening gala.

These tensions reflect the challenges generally facing performing
arts groups in the U.S., including an aging audience and more
tightfisted donors. Unlike employers such as manufacturing or
service companies, these groups have few options to stem rising
costs.  “There are no opportunities for productivity gains in the
performing arts,” says Robert J. Flanagan, an emeritus labor expert
at Stanford business school who analyzed the economics of 63
U.S. orchestras, including the Pacific Symphony, for his 2012
book, “The Perilous Life of Symphony Orchestras.” The size of the
workforce is mandated by the demands of a performance piece:
a first-class orchestra can’t trim costs by having six violinists
on stage when a symphony requires 12 — at least not without
sacrificing artistic standards.

“Composers determine the labor costs of their works forever,”
Flanagan says. “Technological changes aren’t going to help much.”

On top of that, the Costa Mesa-based Pacific Symphony has
challenges all its own. Its musicians are trying to force a
fundamental change in its business model from part-time
to full-time, salaried employment.

The musicians say they’re trying to get the organization to
adapt to changing realities in the Southern California music
business; its management responds that the old model has
served it well, allowing for “slow and steady expansion over
the last three decades that sensibly matched our artistic
offerings with our community’s demonstrated appetite for
classical music,” as its president, John E. Forsyte, told me in
an email.

The Pacific may be overshadowed by the Los Angeles Philharmonic,
whose $117-million budget outstrips that of any other U.S.
symphony by a sizable margin. But it shouldn’t be overlooked.
The Pacific’s annual budget of $20 million ranks roughly 22nd
in size among U.S. orchestras, just behind the Indianapolis and
San Diego symphonies ($24 million each) and ahead of the
Milwaukee and Oregon symphonies (about $16 million each).

Unlike those orchestras, however, its musicians are paid per-
“service,” a catch-all term designating rehearsals and performances,
rather than salaried.

“They’re the only orchestra that size with a per-service model,
and they’re twice the size of any other per-service orchestras,”
says Drew McManus, a Chicago orchestra consultant who
writes a daily blog about the business.

In a sense, the Pacific is a prisoner of its own history. Founded
in 1978 at Cal State Fullerton, the orchestra became a favored
artistic side gig for Southern California’s army of studio musicians,
a relief valve from the film scores and commercial jingles from
which they chiefly earned their livelihood. They were happy with
its part-time nature because it allowed them maximum scope
to pursue more lucrative studio gigs.

“For a long time, at the negotiating table musicians tried to
get more flexibility in scheduling,” says Robert F. Sanders,
a former Pacific musician who is president of the Orange
County Musicians Assn. and participated in numerous
bargaining sessions.

In that environment the Pacific Symphony thrived. Its
ensemble comprised some of the finest musicians in
the country, it attracted world-class virtuosi as soloists,
and in 2006 it moved into the glittering Cesar Pelli-
designed Segerstrom Concert Hall in Costa Mesa. Its
artistic reputation was strong. Several alumni have
graduated to permanent jobs at major orchestras around
the country; Neeley, a Northwestern-trained performer,
recently auditioned for a chair at the Chicago Symphony
Orchestra and remains on-call as a member of its substitutes
roster.

But film, TV and commercial work has been disappearing
locally. Film scoring has moved to London and other
overseas locations; TV commercial producers abandoned
jingles and now rely more on licensed pop tracks. “When I
moved here,” Neeley told me, “part of the plan was to break
in at the studios, with the orchestra giving me a somewhat
livable base while I started a freelance career. Four years
later, I haven’t played a single gig at a major studio. That’s
because the work is not available.”

Consequently, the orchestra has become the principal source
of income for many members; the “flexibility” its musicians
once craved now imposes an undesirable uncertainty on their
annual income. That’s especially true because the symphony
doesn’t guarantee musicians a minimum number of services
per year.

The musicians say the Pacific can’t maintain its artistic quality
under the old model, as its average pay will shrink in relation
to competing orchestras. Its musicians can earn about $44,400
in the current season if they attend every available service,
according to the musicians union, but the average member
of the orchestra probably gets enough credits to earn $31,400.

By contrast, the rapidly-expanding San Diego Symphony, which
has an annual budget of about $24 million, recently reached
a five-year contract with its 82 salaried musicians that will
pay an average of about $70,000 in its first year, rising to
$80,000 in 2021.

“What we’re arguing for is not only in our best financial interest,”
says Neeley, “but is in the artistic interest of the organization
itself. If we continue to offer compensation that doesn’t begin
to compete with our peers, we’re going to see people leave the
orchestra, and fewer people auditioning for the orchestra.”

The symphony’s management has made some tentative steps
to meet the union’s “concerns about the predictability of work
and annual wages,” Forsyte says, but the musicians consider
these half-hearted. The symphony is willing to guarantee 185
services, according to the union, but with conditions that
could erode that figure over a year.

The question confronting the Pacific boils down to whether
it’s a $20-million orchestra that happens to employ part-time
musicians, or a part-time employer that happens to have a
$20-million budget. At the moment, it’s suspended between
those two models.

What both sides agree on is that the symphony has made
itself an indispensable part in Southern California’s artistic
landscape. It’s not the musicians’ fault, or management’s,
that the landscape has changed under its feet, but that
makes the symphony’s transformation into a full-time
orchestra more necessary, even urgent.

Read the rest of this entry »

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

November 7th, 2016

10/29/16

I. A DISTURBANCE IN THE FORCE

II. LA COMPOSER SCENE LOSES A STAPLE – RON GRANT PASSES

III. PACIFIC SYMPHONY MUSICIANS THREATEN TO STRIKE
IV. THE PACIFIC WEST FILM SCORING PROGRAM
V. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

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

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

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician
=============================================
I. A DISTURBANCE IN THE FORCE

We have had it confirmed by two different sources that there

was a problem with the payments to the musicians involved

with the Star Wars sessions.

It seems the Union OVERBILLED for the sessions. They

distributed checks, then asked the musicians to send them

back. Reportedly it was John Williams himself who noticed

the over payments when he saw his own check and realized

it was too much. The person in charge of cutting the checks

was fired and replaced with a Lawyer .

Also, the Organizer for  the AFM was fired as well, the

reasons for which we don’t know.

We suppose if you cannot get away with double or triple scales anymore, some might try to find another way to get premium

pay. We suspect this was just a VERY careless mistake.

THE COMMITTEE
=============================================

II. LA COMPOSER SCENE LOSES A STAPLE
from the Society of Composers and Lyricists

It is with profound sorrow I inform you that our dear

friend and colleague, Ron Grant passed away on Friday

evening after a short but acute illness.

A consummate gentleman, Ron was the embodiment

of everything good about our profession. His creativity

knew no bounds, excelling at any artistic endeavor to

which he turned his hand. A gifted composer, artist,

photographer and technician, he continually merged

his talents and amazed us all with the results.

With well over a quarter of a century scoring for film

and television, Ron’s music ran the gamut from Knot’s

Landing to Tiny Toons, Casper to Dallas.  He was a

multiple Emmy® nominee and served as Governor of

the Television Academy’s Music Peer Group from

1996-2000 during which time he completely overhauled

the voting system which remains in use today. His invention

of the Auricle: Film Composer’s Time Processor music

software revolutionized the film scoring process and

earned him both an Academy Award® and an Emmy®

for Outstanding Scientific Achievement.

For The Society of Composers & Lyricists, Ron had served

on the board, with distinction, for almost 30 years during

which time he created our logos, our artwork, our banners,

our trophies, even our letterhead. His flair for design and his

ability to project just the right impression was unique. His

work as a videographer for the SCL was impassioned and

tireless, spending thousands of hours filming, editing and

archiving our events for posterity. It was of paramount

importance to Ron that future generations have the opportunity

to look back and see the evolution of the art and craft of music

scoring.

But above all of these extraordinary talents was Ron’s

humanity. He was one of the kindest, gentlest souls I

have ever met. Nothing was too great an imposition: if Ron

could do something to help you, or make your life a little easier,

he was there. His generosity was unbridled and his reliability

absolute.

To say The SCL owes Ron a great deal is an understatement.

While it’s inconceivable to consider what the organization

would be had Ron not been part of it, it is impossible to

imagine it without his presence.

However, knowing Ron, he would not want us to dwell too

long on his passing but rather be grateful he was able give

something to a community he loved so dearly.

Farewell, my friend. We are all better people for having

had you in our lives.

Rest in peace.

Ashley Irwin
President

===========================================
III. PACIFIC SYMPHONY MUSICIANS THREATEN TO STRIKE

Oct. 28, 2016
Paul Hodgins / ORANGE COUNTY REGISTER

Members of the Pacific Symphony have voted unanimously to

reject the most recent contract offer presented by the orchestra’s

management and reaffirm the strike authorization they

previously had granted, the union for the musicians announced

Thursday. The two sides met for the last time on Oct. 18, said

Pacific Symphony violist Adam Neeley, who serves asbargaining committee chairman for the musicians union.

“The main sticking points remain,” Neeley said. “They concern

our desire to have a predictable schedule, a contract that gives

us more employment and a guaranteed annual wage.”

He added that among 11 peer orchestras of similar size, the

Pacific Symphony ranks at the bottom in the percentage of

its budget allotted to musicians’ pay and benefits. The

orchestra’s website lists 84 musicians among its members.

“We’ll perform on Sunday with Pacific Chorale,” Neeley said.

“We have a longstanding relationship with them and

will respect that.”

But he warned that the “Home Alone” pops concerts scheduled

for Nov. 11-12 could be affected.

Pacific Symphony management officials were unavailable

for comment Thursday. The union’s announcement was

issued shortly after the orchestra’s administrative offices

had closed for the day.

Pacific Symphony president John Forsyte, who is out of

town, sent a statement via email on Friday morning:

“Since its contract with the musicians union expired on

Aug. 31, Pacific Symphony has continued to act in good

faith to negotiate a new contract.

 

Our offers have been designed to address union concerns

about predictability of work and annual wages. The board

maintains its commitment to a contract that provides stable

and meaningful work for musicians while ensuring the long-

term sustainability of the organization.

 

For now, all programs will continue as scheduled.”

The terms proposed by the orchestra’s management are

punitive, Neeley argued. To play the minimum number of

guaranteed services in their contract, symphony musicians

are required to turn down other jobs when they are “on call”

for some services, Neeley said. In other words, they might not

be used for certain events but must keep those dates open nonetheless.

“Musicians who expect to earn $34,807 in the 2016-17 season

could only do so by sacrificing other work in order to keep

their schedules clear, and would have no way of predicting

when they would be called to work,” the orchestra committee

said in an email released Thursday.

 

Pacific Symphony is unique among America’s 33 largest

orchestras in its use of a per-service contract. All others

guarantee their musicians an annual salary based on a

weekly wage multiplied by an agreed-upon number of

weeks of work.

Contact the writer: 714-796-7979 or phodgins@scng.com
====================================
IV. THE PACIFIC WEST FILM SCORING PROGRAM
is now accepting applications for the one-year

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

Recently rated as the #4 school in the world for film

scoring education by Music School Central.

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

Learn from Industry Professionals

All PNWFS faculty are active professional film and game

composers, orchestrators, copyists, and engineers, including

the program’s creator and lead instructor Dr. Hummie Mann.

Hummie is the two-time Emmy Award winning film composer

of “Robin Hood: Men in Tights” and featured in Variety

Magazine’s article “Leaders in Learning”.

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

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

History of Success

We are very proud to have a high success rate for our graduates who have gone on to work on television shows such as Castle, Empire, and Once Upon a Time; video games such as World of Warcraft, Spate, and Destiny; and films such as The Revenant and Miss Peregrine’s Home for Peculiar Children. Apply now and you could be joining their ranks!

Applications are being accepted for the Fall 2017 school year.
We offer rolling admission – no deadline to apply.

Read the rest of this entry »

LETTER / MEETING / TUBAS? / EVENTS

October 27th, 2016

10/29/16
I. LETTER TO THE EDITOR

II. LAST MONDAY’S LOCAL 47 NON-MEETING
III. LIKE TUBAS?
IV. EVENTS
…Absolutely guaranteed anonymity – Former Musician’s Union officer
…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician
=============================================

I. Letter to Editor  Local 47 – GENERAL ELECTION 2016

Dear Editor,

The AFM 47 Website says; “For the first time in recent history, all candidates

who submitted nominating petitions for the 2016 Local 47 General Election

were unopposed.  On Sept. 16 the Election board declared all candidates

elected by acclamation.”

According to the Election Board Chair only one petition was obtained from

the Secretary-Treasurer and that petition contained a “slate” of all the

incumbents. That petition was circulated at both the Hollywood Bowl

and Los Angeles Philharmonic.

Subsequently, the Local 47 Secretary-Treasurer, Gary Lasley was

questioned about the fairness of the process .

1) The incumbents have access to obtain signatures where the

rank-and-file do not. Union officials can go to any rehearsal,

backstage or soundstage. Can the Union arrange for equal access

for those non-incumbents seeking signatures? ( It was just a few

years ago that the by-laws were amended prohibiting petition

signatures to be obtained at Local 47…where member musicians

gather to rehearse.)

2) Why was each person running for office not required to get

their own 50 signatures?  This would require that persons seeking

to serve the membership actually interact with the rank-and file

on their own.  Obtaining signatures in this instance of all incumbents

on a single “slate” forced the members to make an all or nothing

acceptance.

The answer from the Secretary-Treasurer was that making each

person get their  own signatures would be disruptive to the workplace.

Obviously, the incumbents are getting their signatures in the

workplace and  have engineered the rules to advantage themselves.

Further, the Secretary -Treasurer was very clear that any changes

would require a by-law amendment.

This situation makes it onerous for anyone not regularly in contact

with large groups of fellow musicians to collect signatures and run

for office.  The incumbents have a clear and distinct advantage which

disenfranchises the rank-and-file.

Under Title 29 § 452.51 Election of Officers of Labor Organizations.

“A union may not adopt rules which in their effect discourage or

paralyze any opposition to the incumbent officers.”

Member, Local 47 AFM

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

II.  LAST MONDAY’S LOCAL 47 NON-MEETING

LOCAL 47 GENERAL MEMBERSHIP MEETING
No quorum reached – 34. Peaked at around 40 around 8pm.

Parlitmentairan rattled off reasons for passing a resolution

related to benefits for Officers, Committee members and

Executive Board members.

“Since increase is to the position not the person it’s OK.”

Acosta should not be able to vote on his own rate. Nor should

the other officers.

Isn’t that what the salary review board is for?

Member: Need to listen to legal opinion, would the change

put the local in more monetary problems.

Member: Galled that the hourly wage is increasing to $45.

Turns out it is already $45.

Levy says – Amendment generally is passed to next term

if defeated, If it’s not voted on at a meeting

Salary review board – Hourly pay is currently $45, not

requesting an hourly rate change.

OUR dues now will pay for HMO Insurance for directors

and executive board members.

PRESIDENT’S REPORT
Gives floor to RMA head – More talk of protecting the

recording musician’s product. Much more complicated now,

considering platforms

 

Board member – if most AFM recording happens in Los Angeles,
why are the meetings in New York?
Answer – All the labels are based in New York.

Pasadena Symphony negotiations happening.
Metro and orchestra contract – turning out to be chaotic…

too many cooks.
Musica Angelica has relocated to Long Beach. Working out

details for dues.
Cabrillo Music Theater – CBA is with contractor, not theater.

Want to change that.

-Co-Sponsored event with Michael Giacchino on a LOST theme

at Ford Theater… Big Success.

Still in talks with Magic Castle.

-Went to ICSOM.
LA Phil member is now chair of ICSOM.

-Concluded low budget seminar – thanks to those involved.
-New music prep chart is on website.
-Film musician fund workshop happened.
-AFTRA looking to put on future workshop.

Organizing:
Member leader: Purpose is to make a more powerful Union.
– Asking for phone volunteers.
– Working to get better contracts.
– Currently focusing on Pasadena Orchestra contract.
– Trying to get more work on AFM agreements.
– Musical Theater – Trying to convene Theater folks to get a plan together.
– Asked for feedback and ideas.

At 8PM have 40 attendees.

BUILDING
-In and out of escrow several times, mostly by the Local’s choice.

Are currently in the 3rd Escrow October 28th is the deadline,

which would mean end of year transition out of the building.

-MEMBER: In previous article Acosta said we’d not sell, the building

till we have somewhere else to go…. Acosta: That is true.

-Doesn’t one of the buildings have also an environmental issue,

a gas tank in the back. We’d have to spend money to do environmental

cleanup? True

-Another one of the buildings, for perhaps the same one, is actually under

lease into 2017. True,…. Formerly leased by Enterprise.

-MEMBER: The initial building on Alameda had three businesses in the

front parking lot. A big deal was made of the fact that the rents on those

businesses would pay the $120,000 per year property tax. That building

is out of the picture. Are the financial expectations being adjusted to

account for that?

-Must request extension if we’re not ready to go.

New Member – Why are we selling the building –

Answer given: Started campaign in 2015.
Campaign: Time is now – Several years of significant short falls

that caused us thinking to sell the building to insure our future

and stabilize the financials.

————-

-Checking out effect of Tax Incentive’s impact.

Health Care –  Hand W fund is looking at accepting a migration of

contributions under the motion pictures plan. Have all contributions

go into one bucket.

It’s complicated. Data goes to utilization issues. What are people using

and buying? Are they buying top tier or lower tier.

Fund is looking at several different options. Traditional, Side by Side

Flex, etc.

What would be the most optimal path?

Member: Since Taft Harley funds flex plan, we cannot have any effect

on that use.

Will we continue to have our plan subsidized the members?
Fund is subsidizing less than it used to be.
Answer:
-Will protect Local 47-

AFM
Rochelle Skolink is new SSD Director

Legislative Agenda for AFM
-IEB for December will take on national nonunion recording issues.
-New In house counsel hired by AFM for West Coast Office
-Ongoing negotiations with Sound recording companies,
Live TV and Broadway League for touring Pamphlet B Show.

VICE-PRESIDENT’S REPORT

Attended Pamphlet B negotiations.
Talked about election.
3 day meeting for PRO 61 rally – that included Bernie Sanders.

Over 500 people here. Built stage, Brought in bus.

Member spoke on 61.

Golf tournament – Rick is new Chairman, Acosta president of

Music Fund of LA.

Former President Espinosa has moved to Connecticut.

Went to ASMAC lunch with Nathan Wong.

Personal note: 1st Wednesday of November ASMAC will be

honoring “Animaniacs”  in the Auditorium.

SECRETARY’S REPORT
Financials – 2nd quarter revue
Income     $2,693,021
Outflow    $2,251,728
Profit         $  441,293 dollars

Overture has won 6 awards this year – thanks to Linda Rapka.

Books signings on December 4th 3-6
Washington Rucker
And one other

Dec. 6th – Referral service will have next mingle event
-2016 Directory is available.
-Free notary available for members
-All union radio station 47.org/radio
-Check into the overture online.

PROMUSIC DB platform is up
1)    Pro credits’ database – Digital platform – can validate the

information. Can fix Wikipedia problems. Create an archive.

Membership is a tax write-off.
2)    Educational Platform for digital musicians. Teaching online

etc. Can use dropbox affiliated with the Promusic DB.
3)    Can get you at other sites, they can put all your info together

for you in one spreadsheet.
Page is on Local 47 website – promusicDB.

COST of election – $20,000 dollars.

[ WHere did the $20,000 go? They didn’t spend our dues money

for the unchallenged campaign fees did they? There’s no need for

outside publication attention, only mention in the Overture.

So they must be talking about flyers and such, which THAT Slate

should have paid for.]

Resolution: Is it possible for the salary revue board to request a

vote at the next general membership meeting? YES
Request to postpose voting to next general membership meeting.
Board will either OK the delay or not. What will happen if they

do not allow it is not apparent. Board cannot, by our bylaws,

vote on their own salaries or benefits.

 

Must be voted on by the membership.
Meeting closed at 8:47.

=========================
III. LIKE TUBAS?
Here is a rare TUBA Collection article for those who might be interested.
http://tinyurl.com/h8be4gl

=========================
IV. EVENTS
PHIL NORMAN CD
Now Available for Purchase
Since last months formal release by MAMA Records,
the Phil Norman Tentet’s newest CD has moved up
from #209 to #20 nationally by

JAZZ WEEK CHARTS

which weekly tracks & monitors jazz CDs radio airplay

To order this NEW CD,
simply e-mail your name and address to
PHIL NORMAN and we will mail you a copy.

Upon receipt submit your check for $20 – it’s that simple.

———————————–

From Bill Berry
For Your Consideration
Hi folks,
I want to share some exciting news. Many of the people in

our songwriting community, as well as a few talented friends in

New Orleans and Nashville, are eligible for nomination for a

Grammy award this year. And I want to tell you about them.

For starters, my album Awkward Stage is eligible for Best

Comedy Album and the track The Piano Tuner With The

Lazy Eye for Best American Roots song!

For those of you who are Recording Academy voting members,

and those who aren’t, here are some of the artists and writers

in our circle who could make it to the 59th Annual Grammy

Awards. You can click on links to listen to the eligible albums

and tracks!

The Grammy Nominations will be announced on December 6th, 2016.
Don’t forget to vote!

-Bill Berry

———————————–

DEAN AND RICHARD
DEAN AND RICHARD are now at Culver City Elks the first 
Friday of
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at Viva Cantina
7:30-10:00.
900 Riverside Drive,
Burbank.
Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way they 
should
be. 

We are in the back room called the Trailside Room.
Come on down. Guaranteed to swing.
——————————–
10/29-30/16

 

HARVEST MUSIC FESTIVAL
RESERVE YOUR SEATS NOW

OCTOBER 29th – 30th at 7:30 PM

HARVEST MUSIC FESTIVAL 2016

Intimate Musical Soirees with
 Old World Hospitality and

Charm
 Presenting Extraordinary Concert Artists
 and

Distinguished Speakers

Two Evenings of World Class Music Making

Each Concert Featuring
 Unique Programming & Artists.

Tickets and Reservations are available

at:
www.malibufriendsofmusic.org

or call: (310) 589-0295

Saturday, October 29th at 7:30 pm

MONTGOMERY ARTS HOUSE FOR 
MUSIC AND

ARCHITECTURE
 Music Room

“BRINGING IN THE HARVEST”

Musical Works to Display the
Warmth of the Human Spirit
~ ~ ~ ~ ~ ~ ~ ~
Sunday, October 30th at 7:30 pm

MONTGOMERY ARTS HOUSE FOR
 MUSIC AND

ARCHITECTURE

Music Room
”SPOOKY SONORITIES”

The Sacred and Secular (And a CRAZY Haunted House)
Featuring Harvest Festival Artists

Performing Exceptional Works of
 Johannes Brahms, Gioachino Rossini,

Rebecca Clarke, William Bolcom
, Bela Bartok, Max Janowski and Maria Newman

2016 Harvest Festival Artists:

Christina Borgioli, soprano

Diana Tash, mezzo soprano

Nandani Maria Sinha, mezzo soprano

Wendy Prober, pianist

Maria Newman, violinist and composer

Scott Hosfeld, violist

Paula Hochhalter, cellist

MASTER OF CEREMONIES:
  Samuel Thatcher

For more information on the
 Malibu Friends of Music

please visit: www.malibufriendsofmusic.org

——————————–
11/2/16
Free Admission Glendale Noon Concerts:
Wed NOVEMBER 2, 2016 at 12:10-12:40 pm

Ergo Musica Baroque Ensemble will perform

J.S. Bach’s Cantata BWV 152.

Website: http://www.glendalenoonconcerts.blogspot.com

Thank you!

Jacqueline Suzuki
, Curator, Glendale Noon Concerts

818-249-5108

—————————-

11/4/16

Charlie Ferguson Sextet
performing at
East Los Angeles College – S2 Recital Hall
1301 Avenida Cesar Chavez
Monterey Park, CA 91754

Friday, November 4, 2016
8:00 PM-9:30 PM (1 set)
$12 general admission, $6 students w/ ID

Charlie Ferguson – piano
Billy Kerr – tenor saxophone
Michael Stever – trumpet
Jacques Voyemant – trombone
Chris Conner – bass
Nate Laguzza – drums

Contact (323) 265-8894 for more information.
11/19/16
============================
SFV Symphony Orchestra
Nov. 19, 2016 – Agoura Hills/Calabasas Community Center
Bizet: Carmen Suite #1
Bizet: Symphony in C major
Fernandez: Oboe Concerto
 – Francisco Castillo, oboist
Sibelius: Violin Concerto in D minor, 1st mvt.
Thompson Wang, violinist

Contact: Roberta Hoffman, publicist (ladybirdysue@aol.com)
www.sfvsymphony.com
Program information:
++++++++++++++++++++++++++++
Other concerts in the series
Jan. 21, 2017 – Tutor Family Center at Chaminade West Hills
Schumann: Manfred Overture
Mendelssohn: Symphony #3 in A minor (Scottish)
Belling: Music Madly Makes the World Go Round
Inaugural Performance
 Cary Belling, violinist

Mar. 18, 2017 – Agoura Hills/Calabasas Community Center
Tuttle: By Steam or By Dream Overture
Inaugural Performance
Prokofiev: Symphony #1 in D major (Classical)
Ben-Haim: Pastorale Variée for Clarinet, Harp and Strings
Geoff Nudell, clarinetist
Beethoven: Romance for Violin and Orchestra
Domine: Frankenstein Fantasy
Ruth Bruegger, violinist

May 13, 2017 – Agoura Hills/Calabasas Community Center

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

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

AUSTIN LOCAL / FORT WORTH / EVENTS

October 21st, 2016

10/15/16
I. AUSTIN LOCAL TAKEN INTO TRUSTEESHIP
II. FORT WORTH RALLY
II. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

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

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

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

I. AUSTIN LOCAL TAKEN INTO TRUSTEESHIP
Austin’s oldest organized music entity suddenly hangs in the

balance. Local 433, the city’s musician union – established in

1907 – has been placed under trusteeship by the American Federation of Musicians.

 

The takeover, which went into effect Oct. 3, terminated all of Local 433’s elected officers, including president Freddie “Steady” Krc, a favorite

Austin drummer who’s kept beats for everyone from Jerry Jeff Walker

to Roky Erickson.

 

A letter sent to members earlier this month, authored by AFM’s

International Secretary Treasurer Jay Blumenthal, presented the

trusteeship as a means to restore the fiscal health of the financially

floundering union.

 

“Our local isn’t doing well financially and hasn’t been for many years,”

explains Krc, a member since 1974 who took over as president three

years ago. “There was an embezzlement issue in the Eighties and

Austin’s union, in order to remain financially solvent, had to take

out a loan from the national organization.”

 

Krc says the theft – to his understanding – resulted in Local 433

owing over $60,000 of debt, interest, and penalties to the federation.

Thus, during his tenure, the union operated on razor-thin margins.

 

“I’ve been reaching out to national for three years,” sighs Krc.
“We needed help. We didn’t get it.”

 

The federation appointed Steven Begnoche, a music educator and

performer who’s worked for Houston and San Antonio’s music unions,

as trustee for Local 433. Begnoche acknowledges it will take time to

pay down the debt. That process, he says, begins with cutting expenses, followed by direct contact with union members to educate them on

how the union can help.

 

“We take what you want to do artistically and legitimize what you

do physically,” he says. “We have contracts, pensions, and programs

– a piece of paper for everything you do whether you’re a live or

recorded music performer and everything is kept on record at the

union office for future reference.”

 

The relationship remains a basic one: If the union helps musicians

flourish financially, then Local 433 reaps dues that will decrease

the debt. Membership runs $197 annually. In Blumenthal’s letter

citing the rationale for the trusteeship, what that nets – in part –

is a “collective bargaining representative of the musicians of the

Austin Symphony Orchestra,” the ranks of which make up a large

part of the union’s 320 members.

 

Austin Symphony Executive Director Anthony Corroa says the union

doesn’t play a major role in their tri-annual contract negotiations since

the symphony’s economics are transparent and musicians always get

raises.

 

“The biggest issue with the union, and this is just my opinion, has

less to do with the Austin Symphony musicians and more to do with

all the other musicians around the city,” says Corroa. “They’re not joining

the union. Right now the club owners are taking advantage of pop and

jazz musicians. They’re not paying them anything because they don’t

have representation.”

 

Begnoche claims he can build membership by reaching out to all

members – all levels, all genres – and empower them to legitimize

their business to the extent that they can have contracts for gigs,

which will translate into revenue for the union through payment of

work dues. That’s a huge order of business considering the majority

of club gigs in Austin don’t currently involve contracts. A hearing’s

slated for 7pm, Tue., Oct. 25, at 1106 Lavaca, where all union members

will have a chance to be heard on the subject of whether the trusteeship

should be retained. With either outcome, it’s a sink or swim moment

for Local 433.

 

“It still has a lot of value to musicians and I have hope for it,” offers Krc.

“The goal of this trusteeship is to get it turned around and financially

stable. I don’t know if they can do that without forgiving the debt,

which they’ve declined to do in the past. The other option is it gets

absorbed by another local like San Antonio.

“That would be an embarrassment – if the ‘Live Music Capital of

the World’ didn’t have its own union.”

 

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

 

II. FORT WORTH RALLY

If you’re in the Fort Worth area, you might want to attend this event.
Please join us at a Rally for Growth Not Cuts

Fort Worth Water Gardens, 1502 Commerce St. FW 76102
Saturday October 22, 5:00 PM

Featuring a performance by the combined Brass of the
Symphony Musicians of Fort Worth and the
Musicians of the Dallas Symphony

 

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

 

III. EVENTS

 

DEAN AND RICHARD

DEAN AND RICHARD are now at Culver City Elks the first 
Friday of

every month.

7:30pm-10:30pm,

11160 Washington Pl.

Culver City, 90232

310-839-8891

————————————-

LA WINDS JAZZ KATS 584

NO COVER, NO MINIMUM.

Every 2nd and 4th Tuesday of the month at Viva Cantina

7:30-10:00.

900 Riverside Drive,

Burbank.

Free parking across the street at Pickwick Bowl.

Come hear your favorite charts played the way they 
should

be. 

We are in the back room called the Trailside Room.

Come on down. Guaranteed to swing.

——————————–

10/22/16

DOWNEY SYMPHONY ORCHESTRA

On Saturday, October 22, the
DOWNEY SYMPHONY ORCHESTRA
will present the World Premiere of
“DOWNEY CELEBRATION SUITE”

8PM
DOWNEY CIVIC THEATER
8435 Firestone Drive
Downey, CA 90241
www.downeytheatre.com

composed by long-time musician and Downey resident,
Lars Clutterham.

The concert will also be part of the celebration
of Downey’s 60 years as a city, during most of which time
the Downey Symphony Orchestra has also been in existence.

——————————–

10/22/16

KIM RICHMOND AT THE DESERT ROSE

Dear fellow L.A. Musicians,
I’m back playing at the Desert Rose this coming Saturday,

October 22.

It’s been a while, but I’m back for this week only. It will be

good with a few guests sitting, and regulars Mark Z. Stevens,

Jon Mayer and Harvey Newmark. Details below. Please join us.

WHAT: Kim Richmond with the Mark Z. Stevens Trio,

plus invited guests sitting in).
WHERE: Desert Rose Restaurant,

1700 N. Hillhurst Avenue.

LOS FELIZ VILLAGE,

Los Angeles, CA 90027;

 

I suggest you call for reservations, and designate INSIDE SEATING

(to hear the band) 323) 666-1166

WHEN: This Saturday, October 22, 7 to 11 PM (3 sets)

WHO: Kim Richmond, saxophones; Jon Mayer, piano;
Harvey Newmark, bass; Mark Z. Stevens, drums

ADMISSION CHARGE: none—no cover, no minimum

FOOD: Excellent, check it out

PARKING: Valet available, street parking

——————————–

10/23/16

LOS ANGELES SYMPHONIC WINDS

Subscription Concert 1 – Calabasas High School

CITY OF ANGELS

Gala Season Opening Concert. A spectacular afternoon of inspired
music making with your LA Winds. Featured works will include
Alfred Reed’s classic “Armenian Dances”
and Maestro Piazza will be the featured soloist in John Williams’
theme music from “The Terminal.”
• Sunday October 23, 2016
• 2:30 p.m.  Performing Arts Education Center

——————————–

10/29-30/16

RESERVE YOUR SEATS NOW
OCTOBER 29th – 30th AT 7:30 PM
HARVEST MUSIC FESTIVAL 2016
Intimate Musical Soirees with
Old World Hospitality and Charm
Presenting Extraordinary Concert Artists
and Distinguished Speakers

Two Evenings of World Class Music Making
Each Concert Featuring
Unique Programming & Artists.
Tickets and Reservations are available at:
www.malibufriendsofmusic.org
or call: (310) 589-0295

Saturday, October 29th at 7:30 pm
MONTGOMERY ARTS HOUSE FOR
MUSIC AND ARCHITECTURE
Music Room
“BRINGING IN THE HARVEST”
Musical Works to Display the
Warmth of the Human Spirit
~ ~ ~ ~ ~ ~ ~ ~
Sunday, October 30th at 7:30 pm
MONTGOMERY ARTS HOUSE FOR
MUSIC AND ARCHITECTURE
Music Room
“SPOOKY SONORITIES”
The Sacred and Secular

(And a CRAZY Haunted House)

Featuring Harvest Festival Artists
Performing Exceptional Works of
Johannes Brahms, Gioachino Rossini,
Rebecca Clarke, William Bolcom
Bela Bartok, Max Janowski,
and Maria Newman

2016 Harvest Festival Artists:
Christina Borgioli, soprano
Diana Tash, mezzo soprano
Nandani Maria Sinha, mezzo soprano
Wendy Prober, pianist
Maria Newman, violinist and composer
Scott Hosfeld, violist
Paula Hochhalter, cellist
MASTER OF CEREMONIES:
Samuel Thatcher

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

Click above to enjoy this performance of the
Maria Newman’s, “The Bullfight,”
performed here by the Kairos String Quartet
~ Read the glowing review here ~
http://www.musicweb-international.com/classrev/2016/Oct/Newman_quartets_MAHMR1205208.htm

All programs, dates and artists subject to change and/or cancellation.

——————————–

11/2/16

Free Admission Glendale Noon Concerts:

Wed NOVEMBER 2, 2016 at 12:10-12:40 pm
Ergo Musica Baroque Ensemble will perform
J.S. Bach’s Cantata BWV 152.

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

——————————–

11/19/16

 

SFV Symphony Orchestra

Nov. 19, 2016 – Agoura Hills/Calabasas Community Center

Bizet: Carmen Suite #1

Bizet: Symphony in C major

Fernandez: Oboe Concerto
 – Francisco Castillo, oboist

Sibelius: Violin Concerto in D minor, 1st mvt.

Thompson Wang, violinist

 

Contact: Roberta Hoffman, publicist (ladybirdysue@aol.com)
www.sfvsymphony.com

Program information:

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

Other concerts in the series

Jan. 21, 2017 – Tutor Family Center at Chaminade West Hills

Schumann: Manfred Overture

Mendelssohn: Symphony #3 in A minor (Scottish)

Belling: Music Madly Makes the World Go Round

Inaugural Performance
 Cary Belling, violinist

 

Mar. 18, 2017 – Agoura Hills/Calabasas Community Center

Tuttle: By Steam or By Dream Overture

Inaugural Performance

Prokofiev: Symphony #1 in D major (Classical)

Ben-Haim: Pastorale Variée for Clarinet, Harp and Strings

Geoff Nudell, clarinetist

Beethoven: Romance for Violin and Orchestra

Domine: Frankenstein Fantasy

Ruth Bruegger, violinist

 

May 13, 2017 – Agoura Hills/Calabasas Community Center

Saint-Saens: Bacchanale from “Samson and Delilah”

Tchaikovsky: Orchestral Suite No. 2 in C major

Egizi: Orchestral Suite

“In Memoria di Mio Padre”

Inaugural Performance

Programs subject to change

———————————–

You can read all previous offerings at:

http://www.responsible47.com

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

LETTER TO IEB / EVENTS

October 16th, 2016

10/15/16

I. MEMBER LETTER TO THE IEB

II. EVENTS

 

…Absolutely guaranteed anonymity – Former Musician’s Union officer

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

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

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

 

I. MEMBER LETTER TO THE IEB

The IEB/AFM are ignoring membership concerns in Los Angeles,
hoping the complaints are just going to go away….. They won’t.
——-
RE: Local 47/Club 47 Referendum

Dear Secretary-Treasurer Blumenthal,

I am writing you today because I have not received any response to correspondence sent to President Ray Hair and the International Executive Board for consideration at the July 2016 IEB Meeting.

The issues raised in my letter dated May 15, 2016 warranted serious discussion concerning the governance of Local 47 AFM in conducting it’s referendum vote.  My letter was in direct response to Pres. Ray Hair’s letter of April 24, 2016.  Ray Hair cited lack of detail regarding objections to the referendum that would allow the parent body to exercise oversight.  I think I have remedied any lack of detail by my letter of May 15, 2016.  The passage of that referendum allows Local 47/Club 47 Executive Board to divest the membership of it’s wholly owned real property in the heart of Hollywood, CA.

Please note that the letter of April 24, 2016 from Pres. Ray Hair does not disclose whether the IEB March meeting actually had any discussion or made any decision as a board on my initial letter on the same issue addressed to Ray Hair and the IEB dated February 16, 2016. That letter, as I was told by then Secretary-Treasurer Sam Folio, was set to be on the agenda for the March meeting.  In Pres. Ray Hair’s reply letter to me following the March IEB meeting, there was no indication that it had been considered by the full Board.  In addition, I have read the Minutes from the March meeting that were finally posted on the AFM website in July.  There appears to have been no discussion of the this issue.

After sending the May 15, 2016 letter, I contacted the Secretary-Treasurer’s New York office regarding it’s inclusion for the July IEB meeting.  I was told my letter had been sent directly to legal and they didn’t know if it would make the July meeting. It is now almost mid-August and I received no reply to my May 15, 2016 letter.

It does not appear that either letter of February 16, or May 15, addressed to President Ray Hair and the International Executive Board was actually reviewed or discussed by the full Board.  I would like this issue prioritized and discussed/considered by the full Board as soon as possible. (Perhaps a teleconference would be in order considering the time sensitive nature of this issue.)  I respectfully request that the decision be sent to me without delay.  This has been an ongoing issue since February 2016.

Thank you for your time and immediate attention to this matter,

Member
Local 47/Club 47 AFM

cc: Department of Labor/OLMS
Kamal Harris, California Attorney General
International Executive Board Members-Pres. Ray Hair, Jr.; Vice Pres. Bruce Fife; Vice Pres. Alan Willaert; Sec.-Treas. Jay Blumenthal; Joseph Parente; Tino Gagliardi; Dave Pomeroy; Tina Morrison; John Acosta

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

 

II. EVENTS

 

DEAN AND RICHARD

DEAN AND RICHARD are now at Culver City

Elks the first 
Friday of every month.
7:30pm-10;30pm,

11160 Washington Pl.

Culver City, 90232

310-839-8891

————————————-

LA WINDS JAZZ KATS 584

NO COVER, NO MINIMUM.

Every 2nd and 4th Tuesday of the month at

Viva Cantina
 – 7:30-10:00.

900 Riverside Drive, Burbank.

 

Free parking across the street at Pickwick Bowl.

Come hear your favorite charts played the way they

should be. 

We are in the back room called the

Trailside Room. 

Come on down.

 

Guaranteed to swing.

——————————–

10/19/16

On Wednesday October 19, 2016 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
the Jung Trio performing
Schubert’s Piano Trio No. 2 in E flat major, Op.100,
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.

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

The Jung Trio.
Jennie Jung – piano
Ellen Jung – violin
Julie Jung –cello
Artist website: https://jungtrio.wordpress.com

Free Admission Glendale Noon Concerts series
(concerts every first & third Wednesday at 12:10-12:40 pm)
are listed at http://www.glendalenoonconcerts.blogspot.com

——————————–

10/23/16

LOS ANGELES SYMPHONIC WINDS

Subscription Concert 1 – Calabasas High School

CITY OF ANGELS

Gala Season Opening Concert. A spectacular afternoon of inspired
music making with your LA Winds. Featured works will include
Alfred Reed’s classic “Armenian Dances”
and Maestro Piazza will be the featured soloist in John Williams’
theme music from “The Terminal.”
• Sunday October 23, 2016
• 2:30 p.m.  Performing Arts Education Center

——————————–

10/29-30/16

RESERVE YOUR SEATS NOW
OCTOBER 29th – 30th AT 7:30 PM
HARVEST MUSIC FESTIVAL 2016
Intimate Musical Soirees with
Old World Hospitality and Charm
Presenting Extraordinary Concert Artists
and Distinguished Speakers

Two Evenings of World Class Music Making
Each Concert Featuring
Unique Programming & Artists.
Tickets and Reservations are available at:
www.malibufriendsofmusic.org
or call: (310) 589-0295

Saturday, October 29th at 7:30 pm
MONTGOMERY ARTS HOUSE FOR
MUSIC AND ARCHITECTURE
Music Room
“BRINGING IN THE HARVEST”
Musical Works to Display the
Warmth of the Human Spirit
~ ~ ~ ~ ~ ~ ~ ~
Sunday, October 30th at 7:30 pm
MONTGOMERY ARTS HOUSE FOR
MUSIC AND ARCHITECTURE
Music Room
“SPOOKY SONORITIES”
The Sacred and Secular

(And a CRAZY Haunted House)

Featuring Harvest Festival Artists
Performing Exceptional Works of
Johannes Brahms, Gioachino Rossini,
Rebecca Clarke, William Bolcom
Bela Bartok, Max Janowski,
and Maria Newman

2016 Harvest Festival Artists:
Christina Borgioli, soprano
Diana Tash, mezzo soprano
Nandani Maria Sinha, mezzo soprano
Wendy Prober, pianist
Maria Newman, violinist and composer
Scott Hosfeld, violist
Paula Hochhalter, cellist
MASTER OF CEREMONIES:
Samuel Thatcher

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

Click above to enjoy this performance of the
Maria Newman’s, “The Bullfight,”
performed here by the Kairos String Quartet
~ Read the glowing review here ~
http://www.musicweb-international.com/classrev/2016/Oct/Newman_quartets_MAHMR1205208.htm

All programs, dates and artists subject to change and/or cancellation.

——————————–

11/19/16

SFV Symphony Orchestra 
 
Nov. 19, 2016 –

Agoura Hills/Calabasas Community Center

Bizet: Carmen Suite #1
Bizet: Symphony in C major

Fernandez: Oboe Concerto
, Francisco Castillo, oboist

Sibelius: Violin Concerto in D minor, 1st mvt.

Thompson Wang, violinist

Contact: Roberta Hoffman, publicist (ladybirdysue@aol.com)
www.sfvsymphony.com

Program information:

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

Other concerts in the series

Jan. 21, 2017 – Tutor Family Center at Chaminade West Hills

Schumann: Manfred Overture

Mendelssohn: Symphony #3 in A minor (Scottish)

Belling: Music Madly Makes the World Go Round

Inaugural Performance
 – Cary Belling, violinist

 

Mar. 18, 2017 – Agoura Hills/Calabasas Community Center

Tuttle: By Steam or By Dream Overture

Inaugural Performance

Prokofiev: Symphony #1 in D major (Classical)

Ben-Haim: Pastorale Variée for Clarinet, Harp and Strings

Geoff Nudell, clarinetist

Beethoven: Romance for Violin and Orchestra

Domine: Frankenstein Fantasy
, Ruth Bruegger, violinist

 

May 13, 2017 – Agoura Hills/Calabasas Community Center

Saint-Saens: Bacchanale from “Samson and Delilah”

Tchaikovsky: Orchestral Suite No. 2 in C major

Egizi: Orchestral Suite “In Memoria di Mio Padre”

Inaugural Performance

 
Programs subject to change

———————————–

 

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

DOJ RULING / POP CULTURE / EVENTS

October 8th, 2016

10/9/16
I. DOJ RULING: WHAT HAPPENS NOW?
II. WHAT’S LOST WHEN POPS ORCHESTRAS TAP POP CULTURE

III. EVENTS

 

…Absolutely guaranteed anonymity – Former Musician’s Union officer

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

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

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

I. DOJ RULING: WHAT HAPPENS NOW?
A couple of Tuesdays ago the SCL (Society of Composers and Lyricists)

hosted a meeting at the Crest in Westwood to discuss the recent

DOJ Ruling. What follows are notes taken at the meeting.

ON THE OVERTURNING OF THE DOJ RULING

THE DOJ RULING: BMI Prevailed,… What Happens Now
September 20th, 2016 – 6pm

CREST THEATER
Panalists:
1) Ashley Erwin – Pres. SCL
2) Todd Brabec
3) Michael Eames
4) Garry Schyman
5) Charles J. Sanders

BMI went to get an extension on the DOJ ruling to keep it

from being put in force, but the court came up with a decision….

And overturned the earlier decision in BMI’s favor.

CONSENT DECREE

SOME HISTORY
1917 – ASMAC created
1949 – BMI created
1930’s – Government looked at ASCAP’s actions. ASCAP’s

POWER WAS HUGE

1941 – both ASCAP / BMI put under decrees that limits

how they operate.
ASCAP had EXCLUSIVE rights to their members. Sign

with them, only THEY can license your work.
BMI – Was the same deal.

 

Have been amendments over the decades.

ASCAP / BMI – had to treat similarly positioned composers alike.
Court in 1950 – ASCAP must have a rate court in case writer and others cannot
agree on a rate.
1994 – BMI created a rate court.
Different judges for each organization.

Gives users and pros a recourse if they cannot agree on a fee.

They have interim fees.
In most cases interim rate is very low.

2001 Decree – Sped up some of the rate courts.

Millions of dollars spent on these rate courts.

Since the online world came in – ALL THE SERVICES have

gone to rate court to cut down on the fees to be paid.

PANDORA was the first case where they got a decent rate.

 

Consent decree is 75 years old.

 

Composers are the least represented of all artists.
If record company owns the publisher, they try for the lowest

fee possible. (If there was no floor, the rate would be zero)

Companies want a universal one-size-fits-all rate.

Full work licensing – Is it a buyout? Who gets the benefit?

DOJ was asked by those who want to deflect from having to

pay fair royalties.

Theory of why it came up – Who ran the investigation?

Someone from silicone valley who used to work for Google

as an anti-trust counsel.

 

No longer talking about changing consent, now talking

about FULL WORK LICENSING.

 

Cannot get back to talking about changing consent until

we’re done talking about full work licensing.  After this is

done we’re back to where we started. The full work licensing

has been a very effective delaying tactic.

 

Consent decrees artificially suppress fair royalty fees.

 

We went asking for relieve from consent decree, and the

DOJ went after another angle. (Full Work Licensing)

During Pandora Case –
Big publishers wanted to withdraw part of their works

from the online world only.

ASCAP/BMI wanted to bundle rights.
ASCAP/BMI wanted to replace rate court with an arbitration.

DOJ asked for comments
Amenable to bundling
Amenable to partial work withdrawal
Totally against replacing the rate court.

How is the WFH creator’s relationship with a publisher

different to that of a traditional songwriter.

How would full work licensing affect WFH composers and

songwriters.

Employee and independent contractors, both have rights.
Composers inhabit a third category.

Employees: Collective bargaining – salary, working conditions
Independent contractors: allows ownership, no benefits.
Composers: Considered to be Independent Contractors by NLRB
Work for Hire was created in the 1976 copyright act.
Employer took ownership of the music. Composer sued.
It led to the dissolution of the composers union.

Certificate of authorship – grants ownership to the studio –

composers become in effect an employee without any of

the benefits. Composers are allowed to collect 50% of the
fees collected, representing the “Writer’s Share”.

What we want – Writer’s Share included in statue of the law.

Writer’s share does not appear in any statute. We want it

incorporated into copyright law.

 

We all reach out to local representatives. SCL will come up

with a letter to send.

 

SONA – Songwriters of North America – Sued to give voice to

the songwriter in this fight. Found pro-bono lawyers.

Everyone in Washington needs to see that these actions are

affecting the smallest of the smallest business owners.

 

SONA Suing the DOJ saying it has hurt their property rights.

 

Hard to get congress members to understand what’s at stake

and the subtleties of copy write law.

Meeting Adjourned

 

[EC: If anyone finds this synopsis incomplete or incorrect,

please send in your corrections and we’ll be more than happy

to include it in the next blog.]

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

II. WHAT’S LOST WHEN POPS ORCHESTRAS TAP POP CULTURE
New York Times August 24th, 2016
by Brian Wise

Tchaikovsky’s bombastic “1812 Overture” has been a staple of the Boston Pops’ Fourth of July concert since 1974, when the famed Pops conductor Arthur Fiedler added it — complete with cannon blasts and church bells — to lift attendance. It became the traditional lead-in to the fireworks display over the Charles River.
But that changed over the past decade, as CBS began broadcasting the show and the “1812 Overture” was moved earlier in the evening, before the nationally televised portion began. The prime-time pyrotechnics this year instead used hits by Adele, Beyoncé, Justin Bieber and others as a soundtrack. Some traditionalists took to social media to vent their dismay.

“Nice they let the Pops play ONE song at their own concert,” one viewer wrote in a sarcastic tweet, adding, “And #1812Overture relegated to commercial break.”
“For first time in 40 years #BostonPops doesn’t play 1812 Overture, opting instead for crass top-40 dreck. Pathetic sellout,” another wrote on Twitter.
“I agree with a lot of that reaction,” Keith Lockhart, the orchestra’s conductor since 1995, said in an interview. “The network has very specific ideas about the demographic that they want to attract, which may not jibe with our ideas about the demographic that is going to get the most out of this, and have the best relationship with the Boston Pops.”

There is a fundamental challenge facing pops orchestras and series, which tend to have audiences older than classical ones. As music directors and administrators try various approaches to connect with new audiences — adding film screenings with live orchestral accompaniment, video game soundtracks, theatrical circus spectacles and 1990s rock acts — are they abandoning the large repertory that drew many listeners in the first place?

What is disappearing, some say, are the light classics that once were staples of mainstream classical concerts that, around the middle of the last century, migrated to pops: Rossini overtures, Liszt’s “Hungarian Rhapsodies,” Respighi’s “Fountains of Rome,” Bach transcriptions and other colorful showpieces.
“If you’re going to do a Mahler symphony as the centerpiece of a concert,” said John Mauceri, the founding director of the Hollywood Bowl Orchestra, “you don’t have any room for von Suppé or Offenbach.”

The average age of a Boston Pops subscriber is 55 — compared with 48 for subscribers to its parent ensemble, the Boston Symphony Orchestra. The Pops has been turning more and more to headliners with multigenerational appeal, such as the comedian and singer Seth MacFarlane and contestants from “Dancing With the Stars.” Last week, the St. Louis Symphony followed orchestras in Pittsburgh and Columbus, Ohio, by booking the rapper Nelly. The National Symphony Orchestra has drawn much attention for performances with Kendrick Lamar and Nas: far from fluffy Strauss waltzes.

“There’s kind of a lost repertoire,” Mr. Lockhart said. “As pops orchestras have begun to chase an increasingly nonclassical audience, that material is woefully underrepresented in a lot of places. It’s even represented less here than it was when I first started,” he said, referring to the Boston Pops.

These changes have decades-old roots. In 2004, Henry Fogel, then president of the League of American Orchestras, wrote an article for the league’s Symphony magazine documenting the fading of once-popular works like Smetana’s tone poem “The Moldau” and Chabrier’s flamenco-tinged “España.” Comparing classical subscription programs of six major American orchestras from the early 1920s through 2001, he showed how light classics had nearly disappeared by 1960.

“The development of pops as a separate thing actually hurt orchestras,” Mr. Fogel said in a telephone interview. “It tended to remove some of the music whose principal reason for existence is pure entertainment.” He placed some of the blame on music critics, who often dismissed tuneful pieces like Enescu’s Romanian Rhapsodies, and on conductors, who were afraid of being branded as mere entertainers.

Some orchestras devoted to pops, including the New York Pops and Cincinnati Pops, continue to mix light classics with American songbook standards and film music. But others, like the Philly Pops, have abruptly changed course. When Michael Krajewski became that ensemble’s music director in 2013, he jettisoned light classics for pop- and rock-themed programs, which this season will include tributes to the Beatles and 1970s arena bands. Sarah Maiellano, a spokeswoman for the Philly Pops, credited this overhaul with a 64 percent increase in subscriptions since 2014. Concerts at the Kimmel Center for the Performing Arts in Philadelphia sold at 96 percent capacity last season.

A similar tactic has been used at the Nashville Symphony Orchestra, which has a history of championing contemporary American music. Last year, its pops series sold at 85 percent capacity, compared with 73 percent for its classical series; orchestra officials partly credit the higher pops sales to headliners such as the country band Alabama.

“Pops is a way to bring in money, but we also look at it as a way to bring in new audiences,” said Larry Tucker, the orchestra’s vice president for artistic administration, who has a lead role in overseeing concert programming. (Research from the League of American Orchestras shows that audiences seldom cross over from pops to classical concerts, but pops concerts, which involve fewer rehearsals, are known to subsidize classical series.)

The New York Philharmonic is one of several major orchestras without a pops series, though its Summertime Classics concerts, which ran from 2004 to 2014, harkened back to the Fiedler model of pops repertory. The series was discontinued not because of poor ticket sales but because of touring obligations, said Edward Yim, the Philharmonic’s vice president for artistic planning, who works with the music director Alan Gilbert to plan concerts. “It would be nice to see some of that repertoire sprinkled throughout our main subscription series,” he added. “Not every subscription concert, week in and week out, should be so deadly serious.”

The Philharmonic has drawn large audiences by showing films with live accompaniment; popular performances in May of Charlie Chaplin’s “City Lights” and Disney’s “Fantasia: Live in Concert” were added after the season had already begun. The orchestra has started to spin off touring editions of films from its Art of the Score series, renting the production elements to other orchestras.
The pilot installment, “On the Waterfront,” featuring a score by Leonard Bernstein, had its premiere in New York last September and will be presented this season by the Los Angeles Philharmonic and the San Francisco Symphony. A similar distribution strategy is planned for a restored version of Woody Allen’s “Manhattan,” its soundtrack dotted with brassy Gershwin melodies that will be conducted by Mr. Gilbert on Sept. 16 and 17 at David Geffen Hall.

As these film programs multiply (current favorites of concert presenters include “Home Alone” and “Raiders of the Lost Ark,” according to the online directory Movies in Concert), conductors and artistic administrators say they struggle to find room for the traditional light orchestral numbers. But Steven Reineke, the National Symphony’s principal pops conductor, doesn’t plan to abandon those older pops staples. “To play those types of pieces as preludes or interspersed throughout the programming,” he said, “I don’t see them disappearing.”

Read the rest of this entry »

EXECUTIVE SESSION / EVENTS

October 1st, 2016

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

II. EVENTS

 

…Absolutely guaranteed anonymity – Former Musician’s Union officer

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

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

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

 

I. WHAT IS EXECUTIVE SESSION?

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

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

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

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

Perhaps the use of executive session for the building discussion

is legit,….

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

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

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

dark? Not in all cases.

However, since the membership has shown again and again that

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

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

most, what’s to blacklist?)

 

Perhaps it doesn’t really matter.

 

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

 

II. EVENTS

DEAN AND RICHARD

DEAN AND RICHARD

are now at Culver City Elks the first 
Friday of

every month.

7:30pm-10;30pm,

11160 Washington Pl. 
Culver City, 90232

310-839-8891

————————————-

LA WINDS JAZZ KATS 584

NO COVER, NO MINIMUM.

Every 2nd and 4th Tuesday of the month at Viva Cantina
 7:30-10:00.

900 Riverside Drive, Burbank.

 

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

We are in the

back room called the Trailside Room.

Come on down. Guaranteed to swing.

—————————————

10/2/16

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

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

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

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

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

————————————

10/5/16

FREE ADMISSION GLENDALE NOON CONCERTS

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

in a program, “The Performer as Composer as Transcriber,”
featuring works by Mozart, Kreisler and Mason Bates
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

Elbert Tsai leads a multifaceted career as virtuoso violinist,

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

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

violin recital, which celebrates the short showpieces and gems

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

has performed with the San Francisco Ballet orchestra and

San Francisco Symphony, touring with the symphony domestically

and to Europe and Asia.

 

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

the Luzerne Music Center, San Francisco Conservatory of Music,

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

degrees from University of Southern California, Rice University,

and Oberlin College.

Jennie Jung made her debut with the Pittsburgh Symphony

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

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

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

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

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

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

at the Mozarteum in Salzburg, Austria, Aspen Summer Music

Festival, Gregor Piatigorsky Seminar for Cellists, and the Banff

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

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

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

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

2002 Yellow Springs Chamber Music Competition and was awarded

the Bronze Medal at the 2002 Fischoff Chamber Music Competition.

The Trio has attended numerous festivals and workshops, including

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

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

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

Cultural Foundation. The Jung Trio has performed Beethoven’s

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

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

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

 

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

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

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

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

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

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

——————————–

10/19/16

San Fernando Valley Symphony Orchestra 
 
Nov. 19, 2016 –

Agoura Hills/Calabasas Community Center

 

Bizet: Carmen Suite #1
Bizet: Symphony in C major

Fernandez: Oboe Concerto
, Francisco Castillo, oboist

Sibelius: Violin Concerto in D minor, 1st mvt.

Thompson Wang, violinist

Contact: Roberta Hoffman, publicist (ladybirdysue@aol.com)
www.sfvsymphony.com
 
Program information:

 

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

Other concerts in the series

 

Jan. 21, 2017 – Tutor Family Center at Chaminade West Hills

Schumann: Manfred Overture

Mendelssohn: Symphony #3 in A minor (Scottish)

Belling: Music Madly Makes the World Go Round

Inaugural Performance

Cary Belling, violinist

 

Mar. 18, 2017 – Agoura Hills/Calabasas Community Center

Tuttle: By Steam or By Dream Overture

Inaugural Performance

Prokofiev: Symphony #1 in D major (Classical)

Ben-Haim: Pastorale Variée for Clarinet, Harp and Strings

Geoff Nudell, clarinetist

Beethoven: Romance for Violin and Orchestra

Domine: Frankenstein Fantasy
 – Ruth Bruegger, violinist

 

May 13, 2017 – Agoura Hills/Calabasas Community Center

Saint-Saens: Bacchanale from “Samson and Delilah”

Tchaikovsky: Orchestral Suite No. 2 in C major

Egizi: Orchestral Suite “In Memoria di Mio Padre”

Inaugural Performance

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

You can read all previous offerings at:

http://www.responsible47.com

 

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

COMMENTARY / FORT WORTH / EVENTS

September 24th, 2016

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

III. EVENTS

 

…Absolutely guaranteed anonymity – Former Musician’s Union officer

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

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

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

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

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

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

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

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

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

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

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

So what is the “NEW AFM” position?

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

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

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

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

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

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

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

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

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

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

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

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

http://tinyurl.com/jgpzyq2

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

 

III. EVENTS

.

DEAN AND RICHARD

DEAN AND RICHARD are now at Culver City Elks

the first 
Friday of every month.

7:30pm-10;30pm

11160 Washington Pl.

Culver City, 90232

310-839-8891

————————————-

LA WINDS JAZZ KATS 584

NO COVER, NO MINIMUM.

Every 2nd and 4th Tuesday of the month at Viva Cantina

7:30-10:00.

900 Riverside Drive,

Burbank.

Free parking across the street at Pickwick Bowl.

Come hear your favorite charts played the way they

should be. 

We are in the back room called the Trailside

Room.

Come on down. Guaranteed to swing.

—————————————

9/30/16

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

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

———————————–
10/2/16

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

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

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

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

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

————————————

10/5/16

FREE ADMISSION GLENDALE NOON CONCERTS

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

in a program, “The Performer as Composer as Transcriber,”
featuring works by Mozart, Kreisler and Mason Bates
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

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

Read the rest of this entry »

ACCLAMATION / RANK AND FILE HARASSMENT / COMMENTS / EVENTS

September 17th, 2016

9/17/16
I. MEMBER COMMENT – ACCLAMATION
II. MORE HARASSMENT OF RANK AND FILE
III. COMMENTS
IV. EVENTS

…

Absolutely guaranteed anonymity – Former Musician’s Union officer
…

 

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

 

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

 

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

I. MEMBER COMMENT – ACCLAMATION
–haha nobody cares any more and think it’s history!
[EC: Apathy reigns indeed, and a lack of faith in the Local really shows.]

2016 Local 47 General Election

All candidates unopposed, elected by acclamation

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

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

II. MORE HARASSMENT OF RANK AND FILE

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

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

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

CLOSER TO HOME, we received the following comment:

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

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

Another case of blatant hypocrisy.]

and this…..

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

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

MEANWHILE…

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

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

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

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

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

THE COMMITTEE

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

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

———-

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

——–

Hi!

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

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

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

 

Read the rest of this entry »