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

February 15th, 2018

 

2/16/18

 

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

…Absolutely guaranteed anonymity – Former Musician’s Union officer

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

Circuit Judge Marsha Berzon took issue with that logic.

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

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

Judge Berzon seemed to scoff at that.

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

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

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

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

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

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

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

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

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

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

 

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

 

III. MEMBER COMMENT

 

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

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

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

 

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

 

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

——————————————

2/17/18

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

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

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

——————————————-

2/21/18

GLENDALE NOON CONCERTS

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

 

——————————————-

3/11/18

“WESTERN SUITE” by
Adrienne Albert

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

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

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

More information will be coming soon!!

All best,
Adrienne

 

——————————————

 

The Pacific Northwest Film Scoring Program at the Seattle Film Institute

is now accepting applications for the one-year

Master of Music in Film Composition

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

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

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

 

Learn from Industry Professionals

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

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

 

Accelerated and Affordable

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

 

History of Success

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

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

 

 

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

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

February 9th, 2018

 

2/5/18

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

…Absolutely guaranteed anonymity – Former Musician’s Union officer

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

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

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

•••CORRECTION!•••

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

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

We apologize for the error.

The Committee

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

 

I. MPS

Dear Fellow Musicians,

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

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

Background

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

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

 

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

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

In solidarity,

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

 

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

 

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

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

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

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

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

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

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

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

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

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

Recently, MGM has been investigating.

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

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

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

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

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

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

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

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

 

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

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

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

 

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

 

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

——————————————

 

2/11/18

BAXTER MEMORIAL CONCERT SERIES
an Afternoon with Brahms and Clara Schumann

 

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

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

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

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

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

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

 

——————————————-

 

2/10-11/18

RIVERSIDE PHILHARMONIC

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

Plus: Animatus Eventus (Cartoon Suite), a three
movement symphonic work by Charles Fernandez
based on original material with nods to cartoons
from the last 80 years, including classic cartoon
footage shown on a large screen.
Email – info@riversidephilharmonic.org
Phone – 951-787-0251
——————————————-

2/11/18
LOS ANGELES SYMPHONIC WINDS
Steve Piazza, Director
Subscription Concert 4 – Valentine Concert
Sunday February 11, 2018 at 2:30 pm
Calabasas High School Performing Arts Education Center
22855 Mulholland Hwy, Calabasas, CA 91302

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

 

——————————————-

2/21/18

GLENDALE NOON CONCERTS

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

 

——————————————-

3/11/18

“WESTERN SUITE” by
Adrienne Albert

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

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

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

More information will be coming soon!!

All best,
Adrienne
——————————————–
Adrienne Albert
adrienne@adriennealbert.com
www.adriennealbert.com

 

The Pacific Northwest Film Scoring Program at the Seattle Film Institute

is now accepting applications for the one-year

Master of Music in Film Composition

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

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

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

 

Learn from Industry Professionals

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

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

 

Accelerated and Affordable

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

 

History of Success

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

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

 

 

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

FROM THE EDITOR / RESIGNATION LETTER / EVENTS

February 5th, 2018

2/5/18

I. FROM THE EDITOR
II. MY RESIGNATION LETTER
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. FROM THE EDITOR

WHY I’M LEAVING THE AFM AND LOCAL 47

Dear fellow musicians,

I and others started this blog 12 years ago
in the hope of keeping recording work in
Los Angeles and addressing some of the
injustice done by local 47 against our
members.

During this time, we’ve all witnessed the
steady decline of recording work in Los
Angeles. We’ve also witnessed, with the
consent of our local, the wholesale transfer
of work from one group of musicians to
another (e.g. the Pasadena Pops and the
Los Angeles Ballet orchestra).

In response. our union leadership has failed
to address any of our underlying problems
and selectively punishes anyone who questions
the status quo.  As opposed to standing up
for the rights of rank and file musicians, our
AFM national officers have condoned our
local’s actions and have also sanctioned
anyone who protests against their policies.

Despite losing two thirds of its membership
in the last ten years and facing the possible
demise of our pension fund, you would think
the AFM and our local officers would try to
reform their policies and conduct. Unfortunately,
this is not the case.

As a result, I will be withdrawing my local union
membership after a total of 40 years and will
be electing Financial Core status. I encourage all
musicians of conscience to do the same.
I believe the AFM will eventually
fail under its own mismanagement.

I invite all progressive musicians of good will to
form an new organization that will generate
both work and justice for musicians.  We must
be proactive in trying to create something new.

The blog will remain committed to the
rank and file.

Sincerely,

 

Charles Fernandez
Editor, Committee for a More Responsible Local 47 Blog

 

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

 

II. MY RESIGNATION LETTER – Enough is enough.

Colleagues,

Here is the resignation letter I included with my shift to Fi-Core Status.

Local 47
American Federation of Musicians
Attn: Secretary
3220 Winona Ave.
Burbank CA 91504

 

Re: Election of Financial-Core Status Effective Immediately

To the Secretary:

I, Charles Fernandez, hereby elect financial-core status effective
immediately. And to the extent necessary, I hereby resign as
an active member of Local 47 and the AFM, effective immediately.
Please refund a pro rata portion of my dues previously paid which
were allocated by you to political causes.

I want you to know the reason why I am electing financial-core status.

For the past 35 years, I have taken it as a point of great pride to
be a member of the American Federation of Musicians and Local
47; but no longer. The AFM and Local 47 no longer represent the
interests of the majority of its members. Instead, the union has
failed to adopt policies and procedures ensuring that the majority
of our members who are willing and want to work as musicians,
are able to do so. While the union is not responsible for changes
in technology and in the marketplace, the union IS responsible
for how it reacts to those changes so that the minimum harm is
felt by the members.

The AFM and Local 47 – as work has dried up over the past
15 or 20 years – have more and more favored the interests
of a minority of members who belong to the RMA. It has
done so at the expense of the interests of the majority of
members. That is an undeniable fact.

By ignoring the interests of a majority of our members,
leadership of the AFM and Local 47 have demonstrated
an utter lack of creativity, imagination and flexibility in
responding to the changing marketplace, and the union
has severely hurt the majority of members.

As for myself, I got hauled up on totally bogus, trumped
up charges because, in my capacity as an educator, not
a union musician, I conducted a couple of pieces of music
composed by my students at what was nothing more nor
less than a demo session to provide the students with a
reel of their music to assist them in getting work as composers.
As a reminder to you IEB and Local 47 board members,
there is NO bylaw against a union member conducting
on a session, union or not. Look it up.

We all know I was treated so harshly with the size of the
fine because of my past activism and the Local using the
excuse of a supposed position with the Collective Media
Guild. This was so obviously fraudulent that all of the
charges against me relating to my alleged affiliation
with CMG were dropped for the lack of evidence.
I can only conclude that the fine of $2500 was simply
underhanded and vindictive.

So in the end I was selectively targeted for simply
attending the session as an educator, which is absurd,
but those prosecuting the charges against me didn’t
care about that reality, or the truth, and designed
their actions to cost me the most money possible,
in the end the amount will be approx. $15,500.

Had I been treated fairly I would’ve been called
into Local 47, and given a warning.

If I had been a well-placed RMA member and/or
a member of the board I’d have faced no charges.

I have been a member of Local 47 since 1983
(35 years) and never, ever, been charged with a
violation or infraction of the Bylaws.

I read the blog “The Truth about Fi-Core” on
the Local 47 website. It is filled with platitudes,
such as “we shouldn’t get screwed over by those
who would happily see us work for less than our
worth;” “standing together, in unity, is the best
way to make [more work] happen;” and that
members who “share in a democratic process,
have a voice, and be active participants in crafting
and maintaining the terms of our employment.”

That all sounds very nice but it isn’t realistic, nor
is it true. Working for “our worth” is a moving
target which depends on the realities of the
marketplace. It would be nice if the union could
set scale rates without taking into account the
rest of the world, but that bubble has long since
burst. The fact is you can record anywhere in the
world except with the AFM with a buyout. There
must be a more realistic distinction between big
budget, Hollywood films and all the rest of the
composers, producers, and production houses
who are trying to get off the ground. No one,
including me, wants to work for a pittance. But
there is a range of scales that can ensure that
those of us who want to work for a certain minimum,
are able to do so.

No union member wants to take nonunion work,
unless that’s the only work available. And in that
situation, no union member wants to be hauled
up on charges simply for trying to feed their family.
Unfortunately, what the union is left with is the vast
majority of its members who are unable to earn a
decent living playing union gigs. This will inevitably
lead to more and more members resigning or electing
financial-core status to avoid charges. This is the
dilemma which the union has created for the majority
of its members.

The bigger picture is that there is little recording work
for anyone other than a minority of RMA members;
there are numerous members of Local 47 who are
fine musicians and perfectly capable of doing excellent
recording work, but don’t work because of the few
contractors and RMA members who have a monopoly
on recording work. That leaves the rest of the members
who are capable of performing at the highest levels
with no work and no prospect of work if they are to
adhere to the union rules. That’s the intersection that
most qualified members find themselves.

All members do non-union work (board members
included – you know who you are), but as mostly
RMA members occupying favored status with the
union leadership, none of you will ever be brought
up on charges, be it for playing on recordings or
orchestrating for film or musical theater.

That’s the kind of favoritism that makes the majority
of our members, cynical; and when the choice is
presented go ahead and take nonunion work and
hope they don’t get caught. How long is this vicious
cycle going to continue? And how long will loyal dues
paying members who want, and are able to, do recording
work continue to turn down nonunion recording work.
It’s a Hobson’s choice!

In fact, given the perception by most members
that the union no longer protects their interests,
including their desire to perform as musicians,
there is no reason for anyone to remain a member
so long as the union crafts policies that discriminate
against members who want to work but have to
reject work for fear of being brought up on charges.
After all, what’s the point of these musicians remaining
members? There is none.

The AFM cannot continue protecting the interests
of a tiny minority at the expense of the majority and
expect to survive in the long term. That is simply a
fact of life.

That is why I am electing financial-core status.
My decision is based on ineffectual, unfair union
policies about what work I can accept; and on the
vindictive, spiteful and malicious manner in which
I was treated in connection with the bogus charges
filed against me, and the inordinate fine attached.

 

Fraternally,

 

________________________
Charles Fernandez

 

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

 

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

——————————————

2/6/19

Tuesday, February 6, 7:30 pm
USC Newman Recital Hall (AHF)
USC Thornton Faculty Recital with
bassoonist JUDITH FARMER and
cellist ANDREW SHULMAN

Program:
Gernot Wolfgang – ROAD SIGNS (world premiere)
Judith Farmer – bassoon
Nic Gerpe – piano

Frank Bridge – CELLO SONATA, H.125
Andrew Shulman – cello
Jeffrey Kahane – piano

INTERMISSION

Gernot Wolfgang – WINDOWS
Edgar Lopez – clarinet
Judith Farmer – bassoon
Nadia Shpachenko – piano

Benjamin Britten – CELLO SONATA, Op.65
Andrew Shulman – cello
Jeffrey Kahane – piano

FREE ADMISSION

——————————————-

2/7/18

Brendan White- Piano & Jacqueline Suzuki- Violin at Music@Mimoda
· Hosted by Maksim Velichkin and Jacqueline Suzuki

 

Wednesday, February 7 at 8 PM – 9:30 PM

MiMoDa Studio
5774 W Pico Blvd, Los Angeles, California 90019

 

——————————————-

 

2/11/18

BAXTER MEMORIAL CONCERT SERIES
an Afternoon with Brahms and Clara Schumann

 

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

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

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

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

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

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

 

——————————————-

 

2/10-11/18

RIVERSIDE PHILHARMONIC

“Animatus Eventus”

Saturday, February 10, 2018 @ 7:30 p.m.

Sunday, February 11, 2018 @ 2:00 p.m.

Music to entertain the young and the young
at heart, with a unique concert celebrating the
music of cartoons including “Alice’s Wonderland,”
“Felix goes to Hollywood,” and others, composed
by some of Hollywood’s top cartoon composers,
like Mark Watters and Charles Fernandez.

Plus: Animatus Eventus (Cartoon Suite), a three
movement symphonic work by Charles Fernandez
based on original material with nods to cartoons
from the last 80 years, including classic cartoon
footage shown on a large screen.
Email – info@riversidephilharmonic.org
Phone – 951-787-0251
——————————————-

2/11/18
LOS ANGELES SYMPHONIC WINDS
Steve Piazza, Director
Subscription Concert 4 – Valentine Concert
Sunday February 11, 2018 at 2:30 pm
Calabasas High School Performing Arts Education Center
22855 Mulholland Hwy, Calabasas, CA 91302

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

 

——————————————-

3/11/18

“WESTERN SUITE” by
Adrienne Albert

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

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

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

More information will be coming soon!!

All best,
Adrienne
——————————————–
Adrienne Albert
adrienne@adriennealbert.com
www.adriennealbert.com

 

The Pacific Northwest Film Scoring Program at the Seattle Film Institute

is now accepting applications for the one-year

Master of Music in Film Composition

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

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

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

 

Learn from Industry Professionals

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

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

 

Accelerated and Affordable

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

 

History of Success

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

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

 

 

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

NO QUORUM / NCCMP UNDERMINING ACT? / EVENTS

January 27th, 2018

 

1/26/18

I. NO QUORUM FOR LOCAL 47 MEETING
II. NCCMP Tries to Undermine Butch Lewis Act
III. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

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

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

 

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

 

I. NO QUOROM FOR LOCAL 47 MEETING

BIG take away from the “no quorum” meeting….Local 47/Club
is looking for funding from  the most wealthy members for
“naming rights” to our yet to be built auditorium.
(Names floated….Quincy Jones, Burt Bacharach , and as
one member opined …. “must consider John Williams”).

VP Baptist was very clear that the City of Burbank will
not let the project be called “an auditorium” …only to
be permitted and called a “multi-purpose room” during
construction.

A question from a member asked how much does
the Local…(speaker did not identify the Musician’s
Club) anticipate allocating for it…?  Ans: 1 million.

So much for the sales pitch that the 47/Club would
have 9-11 million for an endowment after offloading
Vine Street. Our long term investment dollars are
about 4.5 million.  It would be nice to know if the
investment income will close the gap between
what the Union can pay and the actual cost to
maintain the new property.

 

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

 

II. NCCMP TRIES TO UNDERMINE BUTCH LEWIS ACT

MPS Signs on with Coalition of Unions
As many of you know, lawmakers in Washington
are responding to our pension crisis. In early
November 2017, the Butch Lewis Act was
introduced in Congress by Senator Sherrod
Brown. The proposed law would guarantee that
all plan participants receive 100% of their
promised pension benefit. It is the only plan
that preserves 100% of our hard-earned
pension benefits.

For the last few months MPS has been in
frequent contact with lawmakers across
the country asking for the “Butch Lewis
Act of 2017” to be a top legislative priority
and to be included as part of the upcoming
omnibus spending bill.

While we have made progress and gained
considerable support for this legislation,
other forces in Washington are currently
trying to undermine the Butch Lewis Act.
The main opposition is a proposal called the
Grow Act.  This proposal would deny AFM-
EPF access to the federal loan program
and instead would compel cuts to our
accrued pension benefits.

The main sponsor of the Grow Act is the
NCCMP (the National Coordinating Council
on Multiemployer Pension Plans), which
is a Washington lobbying group that in
2014 drafted MPRA, the law that allows
our pensions to be cut. MPS has previously
pointed out the strong ties between our
AFM-EPF trustees and the NCCMP.
(See prior post here.) Unfortunately, our
trustees continue to support the NCCMP
by paying dues, by serving on their board
and by being actively involved with that
organization.

Musicians for Pension Security has recently
joined AARP, the International Association
of Machinists and Aerospace Workers,
the International Brotherhood of Boilermakers,
the National United Committee to Protect
Pensions, the National Retirees Legislative
Network, the Pension Rights Center, the
United Steelworkers, and the Western
Conference of Teamsters to oppose the
NCCMP in its effort to subvert the Butch
Lewis Act. See the joint statement here.

We call on the trustees of AFM-EPF to
immediately show their support by joining
this coalition and publicly rejecting the
NCCMP’s Grow Act.

AFM-EPF trustees say they support the
Butch Lewis Act. However, it is impossible
to wholeheartedly support it without
disavowing the NCCMP’s proposal.  By
immediately joining MPS and many other
unions by signing onto the coalition
statement and rejecting NCCMP’s proposal,
our trustees have an opportunity to show
plan participants that they are 100% behind
the Butch Lewis Act. They will also show us
that they will no longer allow the NCCMP
to call the shots for the AFM-EPF.

 

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

 

III. EVENTS

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

——————————————

2/1/18

DeLuna, Marder & Kronstadt
Upstairs at Vitello’s
Thursday, February 1 at 8 PM – 11 PM
4349 Tujunga Ave, Studio City, California 91604

Three Singers, Songwriters, and Arrangers perform
their Original Music. Jazz/Brazilian/Groove/Pop…
backed by an All-Star Band.

Featuring

Rich Ruttenberg on piano,
Edwin Livingston on bass,
Joel Taylor on drums,
Brian Swartz on trumpet,
Bob Sheppard on sax,
Peter Kent and Rocio Marron on violin,
Rodney Wirtz on viola,
and Peggy Baldwin on cello.

Tickets: $20 for General Admission// $40 for VIP Seating

A minimum of two items ($20.00) is required per person
while occupying a table. If the minimum is not met the
difference will be charged. – Free dessert with your
purchase of a VIP ticket. $10

TICKET PRICE INCREASE DAY OF SHOW.
GET YOUR TICKETS NOW!

 

——————————————-

2/6/19

Tuesday, February 6, 7:30 pm
USC Newman Recital Hall (AHF)
USC Thornton Faculty Recital with
bassoonist JUDITH FARMER and
cellist ANDREW SHULMAN

Program:
Gernot Wolfgang – ROAD SIGNS (world premiere)
Judith Farmer – bassoon
Nic Gerpe – piano

Frank Bridge – CELLO SONATA, H.125
Andrew Shulman – cello
Jeffrey Kahane – piano

INTERMISSION

Gernot Wolfgang – WINDOWS
Edgar Lopez – clarinet
Judith Farmer – bassoon
Nadia Shpachenko – piano

Benjamin Britten – CELLO SONATA, Op.65
Andrew Shulman – cello
Jeffrey Kahane – piano

FREE ADMISSION

——————————————-

2/7/18

Brendan White- Piano & Jacqueline Suzuki- Violin at Music@Mimoda
· Hosted by Maksim Velichkin and Jacqueline Suzuki

 

Wednesday, February 7 at 8 PM – 9:30 PM

MiMoDa Studio
5774 W Pico Blvd, Los Angeles, California 90019

 

——————————————-

 

2/10-11/18

RIVERSIDE PHILHARMONIC

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

Plus: Animatus Eventus (Cartoon Suite), a three
movement symphonic work by Charles Fernandez
based on original material with nods to cartoons
from the last 80 years, including classic cartoon
footage shown on a large screen.
Email – info@riversidephilharmonic.org
Phone – 951-787-0251
——————————————-

2/11/18
LOS ANGELES SYMPHONIC WINDS
Steve Piazza, Director
Subscription Concert 4 – Valentine Concert
Sunday February 11, 2018 at 2:30 pm
Calabasas High School Performing Arts Education Center
22855 Mulholland Hwy, Calabasas, CA 91302

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

 

——————————————-

 

The Pacific Northwest Film Scoring Program at the Seattle Film Institute

is now accepting applications for the one-year

Master of Music in Film Composition

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

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

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

 

Learn from Industry Professionals

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

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

 

Accelerated and Affordable

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

 

History of Success

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

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

 

 

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

MERGER / SAN ANTONIO / CHINA / COMMENT / EVENTS

January 16th, 2018

1/16/18

I. MERGER PRESENTS PROBLEM WITH ACCESS
II. SAN ANTONIO SYMPHONY
III. CHINA IS THE NEW HOLLYWOOD
IV. COMMENT
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. MERGER PRESENTS PROBLEM WITH ACCESS

MEMBER COMMENT

I have a question about the MICU (Musicians’
Interguild Credit Union) merger with SAG-AFTRA
FCU — I was just informed that former MICU members
will not have access to their transaction data
prior to the merger — that if you want info prior
to the end of last year, you have to contact them
to ask for info.

This is contrary to what I was initially told —
that ALL records would transfer and we would
have access from the time of opening the MICU
account.

[Colleagues, any thoughts?]

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

II. SAN ANTONIO SYMPHONY

SAN ANTONIO SYMPHONY

[MEMBER COMMENT: An example on how
important a Orchestra is to a city and also an
example of how management let the orchestra fall
short of pension payments to AFM if what has been
presented is factual.]

San Antonio leaders throw support behind symphony
By David Hendricks

Mayor Ron Nirenberg and Bexar County Judge Nelson
Wolff appeared Saturday night with the San Antonio
Symphony in a show of unity behind the beleaguered
orchestra that is struggling to stay onstage.

Nirenberg and Wolff spoke to a near-capacity audience
of almost 1,450 people at the Tobin Center for the
Performing Arts before the symphony’s performance
of its first Tricentennial program.

“We believe in a world-class symphony for San Antonio.
We believe in a long-term sustainable plan for the
orchestra,” Nirenberg told the audience.

City leaders talk about how important the San Antonio
Symphony is to the city.

“I wish I could say the work is completed, but it’s
not,” Nirenberg said in reference to this week’s
developments in which the Symphony Society of
San Antonio first said the rest of the 2017-18
season would be canceled then reversed the
decision, under new Chairwoman Kathleen Vale,
in favor of a modified concert schedule that will
be announced soon.

Initially, symphony officials said $2.5 million
would be needed to complete the entire season,
then announced Wednesday it would be
cancelled altogether for lack of funds.

After that announcement, Vale said, about $400,000
in donations was verbally pledged, allowing for the
presentation of at least some of the remaining concerts.
She declined to name the donors.

Also available to the symphony is part of the city’s
allocation of more than $600,000 for the current season,
said bassoonist Brian Petkovich, the orchestra musicians
union representative.

About $300,000 already has been spent by the Symphonic
Music for San Antonio nonprofit, Petkovich said. SMSA
operated the orchestra during the fall but last month pulled
out its deal to take over the orchestra’s management,
citing a possible pension liability that was disputed by
the musicians.

The city still holds about $350,000 that would be available
to the orchestra for concerts this winter and spring. But
the city “will want to see a plan from the symphony before
they release the funds,” Petkovich said. “I’m confident
we’ll develop something, and we’ll have an orchestra on
the stage,” he added.

Wolff told the audience that local leaders and symphony
supporters will begin this summer, if not earlier, to “sit
down and start planning a viable way to operate the
symphony. We have a great orchestra. We want to
keep that orchestra,” Wolff said, before the musicians
took the stage to perform a program focused on the
music from and about Spain in recognition of the city’s
early history.

While a complete list of what concerts will be performed
hasn’t been released, the Jan. 12, 13 and 14 classical
series concerts featuring a program led by Ludwig van
Beethoven’s Symphony No. 3, “Eroica,” will be performed
at the Tobin Center, according to Friday’s announcements
from symphony Music Director Sebastian Lang-Lessing.

Contributions are coming in steadily to help keep the
orchestra together and performing, Vale said.

“It’s exploding. We’re receiving contributions in spades.
We have enquiries about where to contribute. Contributions
can be made to the Symphony Society of San Antonio,”
Vale said.

“This is a critical moment in the destiny of the symphony.
It’s our treasure. We appreciate the outpouring of support.
We need financial support and everyone’s attendance at
concerts. This organization belongs to the city of San
Antonio and the area. It will take the whole city and the
area to support the symphony,” Vale said.

Holders of presold season and ticket holders can seek
refunds if some concerts aren’t included in the modified
season to be announced soon, said Vale and violinist
Craig Sorgi, negotiating chairman of the Musicians of
the San Antonio Symphony.

“Our message to ticketholders is do not go and refund
tickets,” Sorgi said. “You’ll need them. If there is a concert
or two that is not performed, refunds can be made, but I
believe it would be better to hang on to them. I believe
you’re going to use them.”

“Ticketholders can seek refunds or they may donate
unused tickets (by not seeking refunds), which would
be gratefully received,” Vale said.

dhendricks@express-news.net

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

III. China Is the New Hollywood, Director Says

12/28/2017 10:49AM

Big-budget director Renny Harlin, known
for films such as “Die Hard 2” and “Cliffhanger,”
has left Hollywood behind to work in China,
the world’s fastest-growing movie market.

In this video, he talks to the WSJ’s Daniel Epstein
about his experience.
https://tinyurl.com/y94t6jjh

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

IV. COMMENTS

interesting story & comments at
https://www.facebook.com/scoringsessions/
about Local 47 falsely accusing a company
of doing a non-union session. Thoughts?

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

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

——————————————-

1/19/18

LOS ANGELES FLUTE ORCHESTRA

The 9 piece flute orchestra that I perform with will be
having a concert at the Miles Playhouse on Jan. 19th.

I hope you can make it. In addition to the large ensemble
I will be playing in a quartet!

Tickets are limited, so I suggest that if you are interested
you purchase them through the eventbrite website.

https://www.eventbrite.com/e/los-angeles-flute-orchestra-fireside-at-the-miles-tickets-41146543419
Here’s to a fabulous 2018!

Ellen Burr

————————————————–

1/19/18

Tuesday, January 19th, 2018 / 8:00 pm
Pete Christlieb & Linda Small
with the Ray Ohls Trio
Ray Ohls on piano Derick Polke on bass Tim Malland on drums
Brother Don’s
4200 Kitsap Way
Bremerton, WA 98312
Reservations: (360) 377.8442
Directions.

——————————————-

1/20/18

The Kim Richmond/Kimberly Ford Band, featuring Will Brahm,
A Tribute to the Music of Herbie Hancock and Joni Mitchell
WHEN: Saturday, January 20, 8 PM, 2 sets
WHERE: Bar Fedora, 710 W. 1st Street, downtown Los Angeles
WHO: Kimberly Ford, vocals
Kim Richmond, saxophones/flute
Will Brahm, guitar
Daniel Szabo, piano
Jordan Richards, bass
James Yoshizawa, percussion
FOOD: Excellent cuisine

Hope you can make it.

——————————————-

1/21/18

MUSICIANS of the METROPOLITAN OPERA ORCHESTRA
at
M  A  H  M  A
Sunday, January 21, 2018 at 7:30 pm
Wine and Cheese Gathering at 7:00 pm

L A U R A   H A M I L T O N, C O N C E R T M A S T E R
M E T R O P O L I T A N O P E R A  O R C H E S T R A

L A N N Y   P A Y K I N  – C E L L I S T

E L L E N   S O M M E R  – P I A N I S T

F E A T U R I N G   R E S I D E N T   A R T I S T S
M A R I A   N E W M A N,  v i o l i n i s t  &  c o m p o s e r
S C O T T   H O S F E L D,  v i o l i s t

P E R F O R M I N G   M U S I C   O F
A n t o n i n  D v o r a k,  M a u r i c e  R a v e l
and  M a r i a  N e w m a n

J a n u a r y   21,  2018
P  R  O  G  R  A  M

Piano Quintet No. 2 in A Major, Op. 81
…Antonin Dvorak (1841- 1904)
For Piano, Two Violins, Viola, and Violoncello

String Quartet No. 2 (“Lauds”)
…Maria Newman  (comp. 1999)
Commissioned by Pacific Serenades (Los Angeles)
And the Icicle Creek Music Center (Washington)

Sonata for Violin and Violoncello  (1920/21)
…Maurice Ravel  (1875 – 1937)

Selected performances featuring
MAHMA artists below:

—————————————–

1/23/18

CHAMBER MUSIC PALISAIDES
21st Annual Season

Featuring

Jon Lee Keenan, Tenor
Susan Greenberg, Flute
Kenton Youngstrom, Guitar
Delores Stevens, Piano

with commentary by Alan Chapman

Music by
Piazolla, Tarrega, Gershwin, Bellini, Copland,
Ahlert/Young and Mike Mower

Tuesday Jan. 23. 8 pm.

St Mathews Parish
1031 Bienveneda Ave.
Pacific Palisades

Ticket Price – $30

—————————————–

1/24/18

Pete Christlieb and Linda Small
The Tall and Small 11 Piece Band NW
Wednesday, January 24, 8:00 pm
featuring: Pete Christlieb saxophones and Linda Small trombone
saxophones: Tracy Knoop, Travis Ranney, Jeff Kashiwa, Bill Ramsay
trumpets: Morris Northcutt, Jared Hall
piano: Bill Anschell, bass: Nate Omdal drums: Tim Malland
Cover: at door: $12  Online: $10
TICKETS
Directions

——————————————

2/1/18

DeLuna, Marder & Kronstadt
Upstairs at Vitello’s
Thursday, February 1 at 8 PM – 11 PM
4349 Tujunga Ave, Studio City, California 91604

Three Singers, Songwriters, and Arrangers perform
their Original Music. Jazz/Brazilian/Groove/Pop…
backed by an All-Star Band.

Featuring

Rich Ruttenberg on piano,
Edwin Livingston on bass,
Joel Taylor on drums,
Brian Swartz on trumpet,
Bob Sheppard on sax,
Peter Kent and Rocio Marron on violin,
Rodney Wirtz on viola,
and Peggy Baldwin on cello.

Tickets: $20 for General Admission// $40 for VIP Seating

A minimum of two items ($20.00) is required per person
while occupying a table. If the minimum is not met the
difference will be charged. – Free dessert with your
purchase of a VIP ticket. $10

TICKET PRICE INCREASE DAY OF SHOW.
GET YOUR TICKETS NOW!

——————————————-

2/7/18

Brendan White- Piano & Jacqueline Suzuki- Violin at Music@Mimoda
· Hosted by Maksim Velichkin and Jacqueline Suzuki

Wednesday, February 7 at 8 PM – 9:30 PM

MiMoDa Studio
5774 W Pico Blvd, Los Angeles, California 90019

——————————————-

2/10-11/18

RIVERSIDE PHILHARMONIC

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

Plus: Animatus Eventus (Cartoon Suite), a three
movement symphonic work by Charles Fernandez
based on original material with nods to cartoons
from the last 80 years, including classic cartoon
footage shown on a large screen.
Email – info@riversidephilharmonic.org
Phone – 951-787-0251
——————————————-

2/11/18
LOS ANGELES SYMPHONIC WINDS
Steve Piazza, Director
Subscription Concert 4 – Valentine Concert
Sunday February 11, 2018 at 2:30 pm
Calabasas High School Performing Arts Education Center
22855 Mulholland Hwy, Calabasas, CA 91302

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

——————————————-

The Pacific Northwest Film Scoring Program at the Seattle Film Institute

is now accepting applications for the one-year

Master of Music in Film Composition

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

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

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

Learn from Industry Professionals

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

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

Accelerated and Affordable

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

History of Success

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

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

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

NEW COURT FILING / HELP THE MPS / EVENTS

January 6th, 2018

1/6/18

I. NEW COURT FILING
II. HELP THE MPS (Musicians for Pension Security)
III. EVENTS

HAPPY NEW YEAR FROM THE COMMITTEE!!

…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. New Court Filing Offers Play by Play Account of Trustees’ Decision Making
[Colleagues: Get a load of Ray Hair’s and Tino Gagliardi’s role in this.]

 

On December 1, 2017, an amended complaint in
the lawsuit filed by AFM Local 802 members Andy
Snitzer and Paul Livant was filed in Federal District
Court, Southern District of New York. For those
interested in understanding what happened to
our pensions, this court filing provides a play by
play account, from 2009-2016, of the decision
making by our trustees and fund administrator
that led to the current state of our pension fund.
It tells a story of poor investment decision making,
attempts to time the stock market, and payments
to multiple investment managers, in millions of
dollars, for little return.

This account was sourced from internal meeting
minutes and communications within the AFM-EPF
obtained through the court-supervised discovery
process. Much of this is information that plan
participants have until now been denied access to.

The trustees have made it clear that they don’t
agree with MPS’ analysis of the fund, even though
virtually all of our information has come directly
from the AFM-EPF’s own files. This court filing
offers a third view of the AFM-EPF, one that
MPS had no hand in.  It also offers an opportunity
for plan participants to make up their own mind
with important new information. Read and decide
for yourself. Click here for the full document.

No one knows whether the lawsuit will succeed
in court. Whatever happens there, the plaintiffs
have done us all a service by bringing to light
important facts concerning our fund.

One area that this court filing sheds new light
on concerns the AFM-EPF Communications
Committee. In early 2016, the trustees formed
a so-called Communication Committee, which
includes trustees Ray Hair and Tino Gagliardi.
The committee made the decision in March
2017 to post only partial versions of the investment
reports to the AFM-EPF website. They also made
it policy that any document requested by a plan
participant would have to be copied, on paper,
at significant expense, rather than sent
electronically to the requester.

According to the court filing, while communicating
about plan participant’s access to information to
which they are legally entitled, Maureen Kilkelly
told Communication Committee members Ray
Hair and Tino Gagliardi that “I would love to
think of a way to curtail it” even though she
recognized “it is efficient and time-saving
to send items electronically as opposed to
copying, addressing and mailing a hard
copy.”  This quote is taken from page 47
end of paragraph 102 of the complaint.

Read it here.

As recently as December 9, 2017, plan
participants received an email blast from
our trustees stating that they “are committed
to ensuring that all participants have access
to timely and accurate information about the
fund and its financial status.” Clearly, the
policies set internally by the Communications
Committee are in stark contrast to what the
trustees have been publicly communicating
to plan participants.

Below we set forth two other important
examples where the trustee’s statement
that they are “committed to ensuring that
all participants have access to timely and
accurate information” is easily proven to
be false.

First, the most recent Form 5500 that is
available to plan participants covers the
plan year ended March 31, 2016 – information
that is now 21 months old. Form 5500 is
the legally mandated disclosure document
concerning the assets, liabilities, income,
and expenses of our plan. The Form 5500
for the plan’s fiscal year ended March 31,
2017, was due on October 31, 2017, but it
has not been filed. The AFM- EPF does this
by filing for an extension with the IRS. The
extension allows them to file their form 5500
as late as January 15 of the following year.

In other words, the trustees take the longest
allowable time in which to file this important
disclosure form. This is not the behavior of
an organization seeking to be transparent.
With their extensive staff, outside accounting,
actuarial and legal resources, there is no
reason why our trustees could not have
filed the Form 5500 months ago.

And second, because the trustees’ Roadshow
Presentation in February 2017 included
some questionable facts, MPS sought
relevant information from the trustees
concerning investment fees, expenses
and the finances of our plan. All these
requests were denied. The only documents
the trustees would disclose are those required
under the law and many are heavily redacted.
(See our prior article here.)

To sum it up: The trustees are not giving us
timely communications and what they provide
is difficult to get, expensive and incomplete.
And just when the trustees let us know we
could be facing cuts to existing benefits,
those same trustees decided to curtail
participants’ access to information, making
it harder for plan participants to figure out
what happened.

Read the court case and share your
thoughts on our Facebook page here
or email us at info@musicansforpensionsecurity.com

[Colleagues: At every point where they could have chosen
either transparency or obfuscation, they
chose the latter. We deserve infinitely better]

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

II. WHAT CAN YOU DO TO HELP THE MUSICIANS
FOR PENSION SECURITY (MPS)

MPS Community,

Since we started our work on the behalf of AFM
members around the country we have received
many emails asking, “How can we help?” Today,
we’d like to ask all AFM members for assistance
in the coming year. Most of what we need won’t
take much of your time at all:

VOLUNTEER AN HOUR

MPS has grown into a national volunteer organization.
As we continue to grow, the day to day administrative
duties grow as well. There are simple tasks like data
entry and communications that could be covered by
anyone willing to give up an hour or two per week.
This is a simple job but enormously helpful. Those
with special skills like copywriting, online marketing,
public relations or anything else that you think might
be valuable to MPS in the fight to protect our pension
fund, please don’t hesitate to get in touch.

Email us here: info@musiciansforpensionsecurity.com
Important: Put MPS VOLUNTEER in the subject line
and let us know how you would like to help.

MPS MEETING COMMITTEE

MPS will soon be announcing a date for another
open meeting to discuss the state of the AFM-EPF
for all plan participants. That meeting will be held in
New York City and will most likely take place
sometime in the next few months. Our inaugural
meeting last spring drew hundreds of people.
Now that we are a nationwide organization we
expect the attendance to be even larger. For
that reason, we are forming the MPS Meeting
Committee and need volunteers to help with the
logistics! The tasks that are involved with this
meeting can be as simple as showing up early
on the day of the meeting to help set up chairs
or greeting people at the door with handouts. For
anyone willing to give a little more time, we will
need help with communications and the audio/
visual equipment setup for our presentation.

To volunteer for MPS Meeting Committee
email us at:
info@musiciansforpensionsecurity.com
Important: Put MPS Meeting Committee in the
subject line and let us know how you would like to help.

DONATE

If you can’t donate your time, please consider
making a donation to MPS. We are an all-volunteer
organization made up of fellow musicians across
the country that donate their time to help in the
fight to protect our pension fund. Many of us
continue to cover some expenses out of pocket,
but as the organization grows, this will not be
feasible in the long term. Fortunately, now
that we have a large following across the country,
small donations from our many members
can have a huge impact. Please consider
making a donation here.

 

SUPPORT THE BUTCH LEWIS ACT

The Teamsters are frankly carrying a lot of our
water on this. We can do more by way of
pressuring our representatives In Washington
DC. Call them this week! You can find links to
your rep’s contact info and suggested script
here. (Read about the Butch Lewis Act here.)

CONTINUE TO SHOW UP IN 2018!

All our important accomplishments in the last
year happened when AFM members came
together and took action. Whether it was coming
to a meeting to learn more about the problems
at the AFM-EPF or the thousands of calls and
emails to AFM President Ray Hair, those actions
made a huge difference in the fight to protect our
pensions in 2017. In 2018 we must continue to
organize and speak with one collective voice.
We cannot be just an online community. We
must continue to turn out and show up for
important meetings and presentations when
they occur. Your presence alone shows support.
Let us continue to bring our community together
and work towards protecting our pension fund in 2018.

Happy New Year from MPS!

 

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

 

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

——————————————-

1/10/17

Multiplying Cellos – Villa-Lobos Festival at Music@Mimoda
Hosted by Maksim Velichkin and Lars Hoefs

Wednesday, January 10 at 8 PM – 9:30 PM

MiMoDa Studio
5774 W Pico Blvd, Los Angeles, California 90019

 

——————————————-

 

1/19/18

LOS ANGELES FLUTE ORCHESTRA

The 9 piece flute orchestra that I perform with will be
having a concert at the Miles Playhouse on Jan. 19th.

I hope you can make it. In addition to the large ensemble
I will be playing in a quartet!

Tickets are limited, so I suggest that if you are interested
you purchase them through the eventbrite website.

https://www.eventbrite.com/e/los-angeles-flute-orchestra-fireside-at-the-miles-tickets-41146543419
Here’s to a fabulous 2018!

Ellen Burr

 

————————————————–

 

1/19/18

Tuesday, January 19th, 2018 / 8:00 pm
Pete Christlieb & Linda Small
with the Ray Ohls Trio
Ray Ohls on piano Derick Polke on bass Tim Malland on drums
Brother Don’s
4200 Kitsap Way
Bremerton, WA 98312
Reservations: (360) 377.8442
Directions.

 

——————————————-

2/1/18

DeLuna, Marder & Kronstadt
Upstairs at Vitello’s
Thursday, February 1 at 8 PM – 11 PM
4349 Tujunga Ave, Studio City, California 91604

Three Singers, Songwriters, and Arrangers perform
their Original Music. Jazz/Brazilian/Groove/Pop…
backed by an All-Star Band.

Featuring

Rich Ruttenberg on piano,
Edwin Livingston on bass,
Joel Taylor on drums,
Brian Swartz on trumpet,
Bob Sheppard on sax,
Peter Kent and Rocio Marron on violin,
Rodney Wirtz on viola,
and Peggy Baldwin on cello.

Tickets: $20 for General Admission// $40 for VIP Seating

A minimum of two items ($20.00) is required per person
while occupying a table. If the minimum is not met the
difference will be charged. – Free dessert with your
purchase of a VIP ticket. $10

TICKET PRICE INCREASE DAY OF SHOW.
GET YOUR TICKETS NOW!

 

——————————————-

 

2/7/18

Brendan White- Piano & Jacqueline Suzuki- Violin at Music@Mimoda
· Hosted by Maksim Velichkin and Jacqueline Suzuki

 

Wednesday, February 7 at 8 PM – 9:30 PM

MiMoDa Studio
5774 W Pico Blvd, Los Angeles, California 90019

 

——————————————-

 

2/10-11/18

RIVERSIDE PHILHARMONIC

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

Plus: Animatus Eventus (Cartoon Suite), a three
movement symphonic work by Charles Fernandez
based on original material with nods to cartoons
from the last 80 years, including classic cartoon
footage shown on a large screen.
Email – info@riversidephilharmonic.org
Phone – 951-787-0251
——————————————-

2/11/18
LOS ANGELES SYMPHONIC WINDS
Steve Piazza, Director
Subscription Concert 4 – Valentine Concert
Sunday February 11, 2018 at 2:30 pm
Calabasas High School Performing Arts Education Center
22855 Mulholland Hwy, Calabasas, CA 91302

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

 

——————————————-

 

The Pacific Northwest Film Scoring Program at the Seattle Film Institute

is now accepting applications for the one-year

Master of Music in Film Composition

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

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

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

 

Learn from Industry Professionals

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

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

 

Accelerated and Affordable

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

 

History of Success

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

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

 

 

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

SAN ANTONIO SYMPHONY / DEVELOPS / COMMENT / EVENTS

December 29th, 2017

 

12/29/17

I. SAN ANTONIO SYMPHONY MANAGEMENT GROUP DEAL OFF
II. SAN ANTONIO STORY DEVELOPS
III. COMMENT
IV. EVENTS

HAPPY NEW YEAR FROM THE COMMITTEE!!

…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. MANAGEMENT GROUP BACKS OUT OF DEAL TO
TAKE OVER SAN ANTONIO SYMPHONY

 

FROM TEXAS PUBLIC RADIO

A nonprofit organization created to run the San Antonio
Symphony announced Wednesday it will no longer take
over the troubled orchestra due to a potential multimillion
dollar pension obligation.

 

Symphonic Music for San Antonio Chairman Bruce Bugg
Jr. said the musicians’ union — the American Federation of
Musicians — told him of an underfunded pension obligation
of more than $4 million. Now, the management group has
decided to hand back responsibility to the Symphony Society
of San Antonio, which managed the symphony since its creation
in 1939.

“We’ve contributed over $2 million since May of this year just to
keep the symphonic season going,” Bugg said. “Those funds
went to pay the salaries of musicians and other expenses.”

Symphonic Music was created on July 19 with the intent of taking
over the symphony’s business operations Aug. 31. That is, until
an audit uncovered an unexpected cost, Bugg said.

“How we got to where we find ourselves today is we had asked
for the audited financial statements of the Symphony Society
of San Antonio for the period ending Aug. 31, 2016,” he said.

“That audit showed zero mention of any [underfunded] pension
balances.”…

We made it clear from the beginning that we were not in the
position at (Symphonic Music) to assume liabilities. We were
only in a position to move forward.”

Alice Viroslav, chairman of the Symphony Society of San Antonio,
confirmed the shortfall, citing a dip in the stock market and
possible mismanagement of the pension.
“So everyone in the pension is underfunded,” she said. “The
pension is a huge multi-employer plan. And the pension itself
has lost over 40 percent in overall value in the stock market in
2008 and never fully recovered from that.

“And there’s actually an active lawsuit right now against the
pension itself by some AFM musicians because exactly the
issues that we’re talking about. So this has nothing to do with
anything that we did. This has to do with the overall management
of the pension fund.”

Meanwhile, Craig Sorgi, a member of the San Antonio Symphony
and union chairman, sent a news release late Wednesday in
response to Bugg and Symphonic Music’s decision that it will no
longer manage the symphony due to the pension obligation.

“The board members of Symphonic Music for San Antonio are
attempting to excuse their abandonment of the San Antonio
Symphony by using the AFM pension plan as their scapegoat.
This is a false excuse,” the statement read. “… The SMSA board
members spent months proclaiming themselves the saviors of
the San Antonio Symphony. Now, like spoiled children, they have
decided to pick up their marbles and leave because they couldn’t
get their way on everything, including having to deal with a pesky
Union that didn’t think reducing outstandingly skilled musicians’
already-low pay scales was a very good idea.”

———————————–

COMMENTS RELATED TO THE ARTICLE ABOVE:

Something stinks, and it ain’t in Denmark. 1st we have a thinly
disguised attempt by the Tobin Center to get the symphony to
do their bidding and get rid of the pesky conflicts that have been
plaguing them from the get-go, and now we have them dropping
the deal like a hot rock, right after talks with the union fail. Since
they’ve known about the “unfunded liability: for a month — during
the negotiations, mind you — I question the real reason for their
sudden and unconscionable withdrawal from their obligations
which were self-imposed in the first place.

I foresee a long and ugly lawsuit on the horizon. And sadly,
a city without a symphony.

 

————————–

 

WAIT a second…..!
Why did Bruce Bugg and SMSA sit on this information for a
month? They learned of the so-called underfunded pension
on November 21.

Why is it news…One Month Later??

————————–

 

I see one big problem in the above quotes from Bruce
Bugg and Alice Viroslav:
“Unfunded” and “underfunded” are not the same thing.
Is this a deliberate slip of the tongue, or careless wording
by the chairman of SMSA?

 

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

 

II. SAN ANTONIO STORY DEVELOPS
Symphony musicians hope for last-minute agreement
By Steve Bennett
December 28, 2017 Updated: December 28, 2017 8:22pm

With the San Antonio Symphony musicians’ contract set to expire Sunday,
an orchestra representative said next week’s Tricentennial celebration
concerts are up in the air.

While hanging onto hope that labor talks will continue, musicians on
Thursday also blasted a nonprofit group that was expected to assume
orchestra management for what they called “a union-busting power play.”

“At this point, we plan to be at rehearsal on Jan. 3,” said symphony
violinist Craig Sorgi, negotiating chairman of the Musicians of the
San Antonio Symphony. “There have been no cancellations, no work
stoppages, and there is still time on the clock to come to an agreement.
It’s not impossible.”

San Antonio supermarket chain H-E-B, the Tobin Endowment
and the Kronkosky Charitable Foundation set up the nonprofit
Symphonic Music for San Antonio and announced plans in
July to take over the symphony’s assets and operations
from the 78-year-old symphony society by Sept. 1.

The group announced Wednesday that it had pulled out of
the deal, citing a $4 million liability related to the musicians’
pension fund, which it said was disclosed recently in a letter
from the American Federation of Musicians & Employers’
Pension Fund.

San Antonio supermarket chain H-E-B, the Tobin Endowment
and the Kronkosky Charitable Foundation set up the nonprofit
Symphonic Music for San Antonio and announced plans in
July to take over the symphony’s assets and operations from
the 78-year-old symphony society by Sept. 1.

The group announced Wednesday that it had pulled out of the
deal, citing a $4 million liability related to the musicians’ pension
fund, which it said was disclosed recently in a letter from the
American Federation of Musicians & Employers’ Pension Fund.

Bruce Bugg, chairman of Symphonic Music for San Antonio,
acknowledged on Thursday that he made a mistake in citing the
number, which was a reference to the multiemployer pension’s
net unfunded vested benefits of $4.5 billion.

The symphony musicians had pointed out the mistake in a
statement released Thursday.
“The pension fund letter identifies a $4.5 billion number for the
fund’s total net unfunded vested benefits aggregated of all
participating employers nationwide and all participating
employees nationwide,” according to the statement.
“This is not a liability figure of the (Symphony Society
of San Antonio).”

However, Bugg insisted the symphony society was potentially
liable for $8.9 million, which the letter identifies as an
“estimated withdrawal liability,” and that it remains a
deal-breaker.

“I don’t see a path forward working with the symphony
society, given what has been exposed in this letter,” he said.

Musicians countered that the figure was “grossly false.”

“Right now, there is no debt that the symphony society
owes the pension fund,” said symphony bassoonist Brian
Petkovich, secretary-treasurer of the local musicians’ union.
“The annual payment that the symphony society makes
to the fund is $120,000, which is such a small part of the
symphony’s budget (of $7.6 million). That shouldn’t
keep the orchestra from being onstage.”

Alice B. Viroslav, a San Antonio physician recently elected
board chairwoman of the symphony society, also said the
symphony is not in debt to the pension fund.

“The pension penalty is solely related to the shortfall of the
overall pension fund,” she wrote in an email. “The symphony
was and has always been current on all payments to the pension.”

Chicago arts consultant Drew McManus said the pension
fund liabilities did not mean that the symphony society
was “in arrears.”

“Withdrawal liabilities only kick in when you pull out of
the fund,” he said.

A symphony society board meeting to discuss all these matters
is scheduled for Tuesday.

“Really, were in a wait-and-see mode right now for what
the other side is going to do,” Petkovich said.

As far as next week’s and upcoming concerts, he added,
“We’re really up in the air.”

—————————————————-

III. COMMENT
interesting story & comments at
https://www.facebook.com/scoringsessions/ about
Local 47 falsely accusing a company of doing
a non-union session. Thoughts?

 

—————————————————

 

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

 

——————————————-

 

The Pacific Northwest Film Scoring Program at the Seattle Film Institute

is now accepting applications for the one-year

Master of Music in Film Composition

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

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

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

 

Learn from Industry Professionals

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

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

 

Accelerated and Affordable

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

 

History of Success

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

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

 

 

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

December 22nd, 2017

 

12/22/17

 

I. TRUSTEES ENDORSE ACT FOLLOWING PRESSURE
II. EVENTS

HAPPY HOLIDAYS FROM THE COMMITTEE!!

…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.TRUSTEES ENDORSE BUTCH LEWIS ACT
Thanks to Pressure from AFM Members

Yesterday evening the AFM-EPF trustees sent out
an email informing plan participants of their decision
to support the Butch Lewis Act. We want to
commend the trustees for finally acting on what
is in the best interest of all plan participants.

MPS first approached the trustees about Senator
Sherrod Brown’s then pension proposal as far
back as July. In October, we asked the trustees
to allow Senator Brown’s actuaries to analyze
the AFM-EPF plan data to show the benefits his
proposal would have on our fund. After meeting
with Senator Brown’s staff on November 2, it still
took another seven weeks for the AFM-EPF
trustees to decide that the Butch Lewis Act
would help our troubled pension fund.

Supporting the Butch Lewis Act is a step in
the right direction for the AFM-EPF trustees.
However, plan participants must continue to
hold the trustees accountable for their actions
both past and present. In 2014 when our
trustees helped write and pass MPRA (the
law that allows trustees to cut existing
benefits) they were actively engaged in
Washington D.C. lobbying on behalf of
the legislation and spent money to support
its passage. We must demand that in the
coming weeks our AFM-EPF trustees
publicly show that same level of support
for the Butch Lewis Act.

Recently, MPS joined with many important
unions and multi-employer pension plans to
oppose the efforts of the NCCMP and others
to undermine the Butch Lewis Act with
“composite plan” legislation. (See the coalition
statement here) The composite plan proposal
was part of the original MPRA proposal in
2014, but didn’t make it into the final law.
NCCMP has been pursuing it ever since.
In the last few weeks, they have dramatically
ramped up their efforts. Moving forward,
MPS will again reach out to the AFM-EPF
trustees in hopes of working together to find
new ways in which we can support the Butch
Lewis Act. First, we will ask the trustees to
join MPS and sign on to the coalition statement
disavowing the composite proposal because
it is not in the interests of the plan participants
of AFM-EPF.

MPS wants to thank all the AFM members
across the country who are actively engaged
in the fight to protect our pension. Whether
it was talking to a colleague at intermission
or calling Ray Hair’s office it was your hard
work, your organizing, your phone calls, and
your emails that created the pressure which
led our trustees to finally act. For many years,
our trustees pursued and supported MPRA.
Now, because of your efforts, our trustees
are forced to seriously consider new
legislative solutions in Washington D.C., like
the Butch Lewis Act, that don’t start with
cuts to benefits.

Since MPS was founded, it has been our
mission to bring together AFM musicians
across the country in search of more
information about the state of our pension
and, ultimately, to demand more
transparency and accountability from
the AFM-EPF Trustees. With your input
and participation, we have become a
national force working towards a
sustainable long-term plan for a secure
pension.

The coming weeks will show plan
participants just how serious the
AFM-EPF trustees are in supporting
the Butch Lewis Act.

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

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

 

——————————————-

 

The Pacific Northwest Film Scoring Program at the Seattle Film Institute

is now accepting applications for the one-year

Master of Music in Film Composition

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

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

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

 

Learn from Industry Professionals

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

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

 

Accelerated and Affordable

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

History of Success

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

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

 

 

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

WORST RETURNS / SPENDING / AFM BLATHER / COMMENTS / EVENTS

December 16th, 2017

 

12/16/17

I. AFM RETURNS WORST IN CLASS
II. AFM SPENDING MORE PENSION DOLLARS
III. AFM’S LATEST ON THE SUBJECT
IV. COMMENTS
V. EVENTS

HAPPY THANKSGIVING FROM THE COMMITTEE!

…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. AFM RETURNS WORST IN CLASS

How the AFM-EPF’s Investment Fees
Actually Measure Up

When the trustees recently made a major statement about
how low the AFM-EPF’s investment fees are, we checked it out.

EXPENSES
As we know all too well, the trustees spin the facts,
especially when assessing their own performance.
Everything they say must be checked thoroughly.
So, when the trustees recently made a major statement
about how low the AFM-EPF’s investment fees are,
we checked it out. And not surprisingly, we found
their statement failed to tell the whole story.

In their December 9 email, they point out that
their investment fees compare favorably with
averages contained in a broad industry study
performed by Greenwich Associates. Since
the Greenwich Associates study is only
available to high paying subscribers (and
that does not include MPS), we thought we
would simply compare the AFM-EPF
investment expenses to the peer group in
the entertainment industry.[1] In any event,
we think the peer comparison provides a
more accurate measurement than a broad,
ill-defined industry study.

We took the industry standard measurement,
which is the ratio of investment fees[2] to
assets under management. It turns out
that AFM-EPF investment fees are 84.3%
higher than the mean[3] for the entertainment
industry peer group:

AFTRA: 0.36 Investment/Assets (%)
DG: 0.25 Investment/Assets (%)
IATSE: 0.024 Investment/Assets (%)
PW: 0.21 Investment/Assets (%)
SAG: 0.78 Investment/Assets (%)
(MEAN): 0.25 Investment/Assets (%)

AFM: 0.615 Investment/Assets (%)

 

We also looked at how AFM-EPF compares
with our sister fund in Canada, The Musicians
Pension Fund, which is affiliated with the
AFM. The investment fees of the AFM-EPF are
78% higher than our Canadian sister fund.

MUSICIANS PENSION FUND OF CANADA:
0.27 Investment Fees/Assets (%)
AFM: 0.615 Investment Fees/Assets (%)

 

To get one more relevant comparison, we
looked at the investment fees for an index
fund like Vanguard. The investment fees
of the AFM-EPF are 175% higher than
Vanguard’s:

VANGUARD: 0.04 Investment Fees/Assets (%)
AFM: 0.615: Investment Fees/Assets (%)

We need to remember that all these investment
fees paid out by AFM-EPF produced worse
performance than any of the funds cited
above. To take one example, the 10-year
annual average return earned by the Vanguard
passive index was 6.83%. [4] The 10-year
annual average return at AFM-EPF was 3.2%.
Overpaying for investment fees has a corrosive
effect on investment returns, especially over
long time horizons. Here’s a good explanation
of this phenomenon from Vanguard:

“Investment costs might not seem like a
big deal but they add up, compounding
along with your investment returns. In
other words, you don’t just lose the tiny
amount of fees you pay, you also lose
all the growth that money might have
had for years into the future. Imagine
you have $100,000 invested. If the
account earns 6% a year for the next 2
5 years and had no costs or fees, you
end up with about $430,000. If on
the other hand you pay 2% a year in
costs, after 25 years you’d only have
about $260,000. That’s right: the 2%
you paid every year would wipe out
almost 40 percent of your final account
value. 2% doesn’t sound so small
anymore does it?”[5]

Our trustees refuse to acknowledge that
the AFM-EPF has an expense problem.
As we have previously pointed out (see
prior post here), the AFM-EPF has
multiple layers of investment managers.
First, they have two investment consultants
who are taking substantial fees for their
overall management of the fund. These
two firms choose no less than 25 outside
investment managers, each of whom take
a cut of the assets under management.
Then under these 25 managers, there
are often sub-managers who take a further
cut. On top of all that expense, AFM-EPF
pension plan has a full staff of over 70
people, headed by an executive who
earns $425,000 per year. Given the layers
of consultants, outside managers, sub-
managers, and the full in-house staff, it
is no wonder that the AFM-EPF pays by
far the most expensive investment fees
in the relevant peer group, and has returns
that are worst in class.

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

II. AFM-EPF Trustees Find New Ways to Spend Your
Pension Dollars
DC Pollster Hired to Run Focus Groups

Participants in the AFM-EPF Pension Plan have recently
begun receiving e-mails from Geoff Garen, President of
the well-known Washington DC polling and political
strategy firm Hart Associates. They are offering $100
to musicians to participate in focus groups: “We believe
the insights you possess and the experiences you have
had would be extremely valuable to the Fund as it seeks
to better understand the perspective of plan participants
and to provide them with helpful and timely information
about the fund.”

So, who is Geoff Garen, and why is he being paid with
our hard earned and scarce pension dollars?

Geoff Garen is a pollster and political strategist who
has worked on the campaigns of many Democratic
politicians, including Hillary Clinton, Chuck Schumer,
Dick Durbin, Mark Warner and Diane Feinstein. He is
the man behind the now much-ridiculed attempt to
re-brand the Democratic Party: the so-called “Better
Deal” economic agenda, which was rolled out in July
2017. Widely seen as a poll-driven and focus group-
driven set of talking points, “The better deal is
covered not as an ongoing messaging effort but
as one event in July that quickly lost voters’
attention,” said the Washington Post. “It quickly
disappeared.”

We are sure Geoff Garen is very good at what
he does, which is furthering the careers of image-
conscious politicians. The problem is that the
AFM-EPF trustees are not politicians. They
are supposed to be guardians and fiduciaries
of our pension, not supporting their own
self-interests.

When they hire a political consultant, it is not
because they want to understand us better or
to communicate with us better. It is because
they want to limit the reputational damage
that they have suffered from their miserable
stewardship of our pension fund. But the
trustees have a problem: their failures are just
too obvious at this point and no political
strategist will be able to fix that. Other pension
funds in the entertainment industry are
operating at healthy levels and with expenses
well within their means. Our own sister fund
in Canada is doing fine. Our pension plan
stands alone for its remarkably abysmal
performance. No amount of spinning or
messaging is going to be able to change that.

As our pension plan approaches critical and
declining status, trustees should be making
extraordinary efforts to cut down on expenses.
Instead, our trustees are burning through our
hard-earned pension dollars more than ever
before. They are hiring layers upon layers of
expensive investment managers, consultants,
law firms and now pollsters. In a year when
AFM-EPF narrowly staved off being in critical
and declining status, every dollar is precious.
The trustees are spending our hard-earned
pension dollars to rehabilitate their image,
and that is an outrage.

You don’t need a pollster to know that.

*We’ve received multiple emails asking
whether plan participants should take part
in these focus groups. Our response is you
should absolutely. Ask the tough questions,
tell Geoff Garen what actions you would
like the trustees to take and let the data
they collect communicate how you feel
about the current leadership of the AFM-EPF.

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

III. AFM’S LATEST ON THE SUBJECT
(Why is our money being spent on this?)

Our Commitment: Timely, Transparent Communications
and Listening to Participants

The American Federation of Musicians and Employers’
Pension Fund (“the Fund”) and its Trustees are
committed to n this/ensuring that all participants
have access to timely and accurate information
about the Fund and its financial status. We want
to hear your questions and concerns, as well as
your communications preferences.

To this end, the Fund recently engaged the firm of
Hart Research Associates to assist us in this effort.
Hart is a well-respected firm that has deep experience
assisting unions, including those in the entertainment
industry, in listening to the needs and concerns of
members. Hart will conduct several telephone focus
groups to help us gain insights into our participants’
knowledge, views and questions about their pension
benefits and the financial status of the Fund.

This is part of our ongoing commitment to transparency.
We will use the insights gained from this process to
identify and answer the most pressing questions on
the minds of our participants—and help keep you
well-informed as we explore actions we can take
to protect your benefits.

We recognize that participants rely on different
sources of information, so we will be utilizing a
number of tools to listen to and inform participants
of important news regarding your pension benefits.
Soon, you will receive an invitation to participate
in a webinar that the Fund will host in January 2018
that will include a question-and-answer session
with the Trustee Co-Chairs, Fund Staff and Plan Advisors.

We believe that, while there are costs involved, it
is a necessary, appropriate and responsible use of
Fund resources to enhance and increase our
communications with participants at this time,
particularly given the ongoing barrage of
misinformation being put forth by individuals with
their own political agenda.

You can find additional information on our website at
www.afm-epf.org.

================================================
IV. COMMENTS

the afm/pension plan folks are SO full of shit !!

the mps (info@musiciansforpensionsecurity.com)
is So right on. thank you, Committee, for
shining the light on this dichotomy !

and come on everyone, please check out
Musicians for Pension Security, and let’s
help them put a stop to the AFM’s plan
to cut our pensions A LOT !!!

———–

Re: Strike Vote by Pasadena Symphony

CONTAGIOUS !!!!!!!!!!!!!!

What comes around goes around.

Now they get a taste of what those
who came before them.

Letting it go for almost three years
since 2015 ?

The symphony thought the pops would
bring in more money from a different
subscriber group. I guess maybe it hasn’t.

 

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

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

————————————

12/17/17

ASMAC/LAJS Holiday party @ Catalina’s in Hollywood

Dec 17 @ 11:30 am – 3:00 pm

Bill Cunliffe Trio with special guest Denise Donatelli

———————————–
12/20/17
GLENDALE NOON CONCERTS
Pianist HAROUT SENEKEREMIAN
performs works by
Haydn, Tchaikovsky, and Stravinsky.

Concert at 12 noon.

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

————————————-

12/21/17

John and Gerald Clayton
Father/Son concert at
BACCHUS KITCHEN

December 21, 2017
6pm
John & Gerald Clayton performing at
Bacchus Kitchen
626.594.6377
1384 E. Washington Blvd, Pasadena 91104
http://www.bacchuskitchen.com

—————————————-

1/17/17

CalStateLA Symphony Orchestra/Olympia Youth Orchestra

You are cordially invited to attend the admission FREE concert
given by the CalStateLA Symphony Orchestra/Olympia Youth
Orchestra on Sunday, January 14, 2018 at 3PM at the San
Gabriel Mission Playhouse, 320 S Mission Drive, San Gabriel, CA 91776.

This concert will feature the 2017 ASTA-LA Competition
Grand Prize winner, 15 year old cellist Jessica Lee as soloist
in the 4th movement of the Elgar cello concerto. The
repertoire will also include Suppe Poet & Peasant Overture,
Sibelius Karelia Suite and Schubert Unfinished Symphony.

Young musicians age 12 through college in the orchestra
gain admittance to the orchestra through our annual
competitive audition. This is the first concert of this 2017-2018
concert season of the orchestra.

Please come give these young musicians the support they deserve.

Looking forward to seeing all of you there.

Sincerely,
Fung Ho
Music Director & Conductor
CalStateLA Symphony Orchestra/Olympia Youth Orchestra

 

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The Pacific Northwest Film Scoring Program at the Seattle Film Institute

is now accepting applications for the one-year

Master of Music in Film Composition

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

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

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

 

Learn from Industry Professionals

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

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

 

Accelerated and Affordable

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

 

History of Success

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

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

 

 

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

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

MPS ANSWERS AFM / CLOSED DOORS / WHAT THE AFM SAYS / EVENTS

December 11th, 2017

 

12/11/17

I. MUSICIANS FOR PENSION SECURITY ANSWER AFM COMPLAINTS
II. TRUSTEES BEHIND CLOSED DOORS
III. WHAT THE AFM/PENSION PLAN SENT OUT
IV. EVENTS

HAPPY THANKSGIVING FROM THE COMMITTEE!

…Absolutely guaranteed anonymity – Former Musician’s Union officer

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

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

 

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I. MUSICIANS FOR PENSION SECURITY ANSWER AFM COMPLAINTS

When our trustees sent out a letter one year ago in
December of 2016 disclosing for the first time that it
was quite possible that we could be facing cuts to our
existing benefits as soon as spring 2017 there was a
lot of confusion, unanswered questions, and shock.
In the months following, when many AFM members
looked to our elected leaders and trustees for help,
information and a plan. It became clear that our
elected leaders were not going to help and that we
would have to deal with the pension crisis ourselves.
A group of concerned musicians organized to
address the ongoing pension crisis and founded
Musicians for Pension Security. Our mission
statement from the beginning has been clear and
simple: We have come together in search of
more information about the state of our pension
and, ultimately, to demand more transparency and
accountability from the AFM-EPF Trustees. With
input and participation from plan participants across
the country, we will be able to speak with one
unified voice working towards a sustainable
long-term plan for a secure pension.

On 12/9/2017, participants of the AFM-EPF
pension plan received an email (read it here)
from our trustees who say they want to “set
the record straight” and accusing “individuals
who have attacked Fund Trustees” with
information “not supported by data and ignoring
facts that don’t serve their agendas.”

If this is directed at MPS, then we will set the
record straight about our organization. We are
not a few “individuals.” MPS is now a national
organization that reaches into every major
local in this country. It took us only five days
to crowdfund $15,000 to hire a highly respected
actuarial firm, Bolton Partners. We have organized
thousands of plan participants through our website
www.musiciansforpensionsecurity.com and the
MPS Facebook page. Our national conference
calls are regularly attended by scores of engaged
participants across the country. Policymakers in
Washington D.C. like Senator Sherrod Brown and
Senator Lamar Alexander (Chairman of the Senate
Health, Education, Labor, and Pensions Committee)
regularly deal with MPS as a serious and impactful
interest group representing the concerns of pension
plan participants. Our grassroots organizing capability
was recently shown when we spearheaded an
extremely successful call to action where thousands of
AFM members called and emailed AFM President Ray
Hair urging him to support The Butch Lewis Act. MPS
Executive Director, Adam Krauthamer, recently received
an award from the Pension Rights Center in Washington
DC in recognition of his services to the AFM-EPF plan
participants. He received this award alongside several
other highly respected pension activists and journalists.

Far from “promoting our own selfish interests,”
as the trustees put it, MPS volunteers are doing
the thousands of hours of work it takes to try and
help our friends and colleagues around the country
stay informed in the face of this pension crisis, while
at the same time seeking solutions. We all do this
while holding down demanding careers as professional
musicians. It is unclear how trying to protect
our fellow members can be deemed selfish.

MPS does not have armies of advisors, consultants,
lawyers and Washington D.C. pollsters controlling our
actions and messaging like the AFM-EPF does.
Through rigorous analysis of the facts, and help from
our legal counsel, actuary and the Pension Rights
Center, we have been able to debunk much of the spin
and misdirection put forth by the trustees. For nine
months we have published numerous pieces with clear
explanations disproving many of the things our trustees
have said and written about regarding our pension fund.
All articles are painstakingly fact-checked and
can be found here.

The trustees’ latest email blast is yet another example
of their spin and misdirection. Let’s take each item in
order:

The Butch Lewis Act

The Butch Lewis Act provides low-cost government
loans to plans like AFM-EPF and would guarantee a
100% pension payout for everyone in the plan. It is
a no-brainer for our trustees to support. (The AFM
supports it, but critically the AFM-EPF trustees do not.)
They state AFM-EPF actuaries are analyzing it but
they have had this legislation in their hands for over a
month. The actuaries have software and could produce
any necessary analysis inside of one day. Our trustees
continue to support the NCCMP and refuse to disassociate
themselves from NCCMP’s active opposition to the Butch
Lewis Act. (See the previous post here). The trustees’
refusal to endorse the Butch Lewis Act does not support
the long-term interest of the fund. It is damaging the
interests of plan participants.

“Streamlined” Investment Management

Our trustees claim that adding another investment manager to
oversee the day-to-day decisions of the investment portfolio will
“streamline” the investment strategy. However, they still keep a
bloated staff of 70 plus people, including Maureen Kilkelly, who
earns by far the most of any executive director of any pension
plan we are aware of in the peer group. They will also keep
investment consultant group Meketa on board despite their
industry worst investment performance for our fund but, we
are told, for a reduced fee. It is unclear why one more dollar
would be spent on them based on their performance. (See
our previous article on fund expenses here.)

Investment Expenses

The trustees do not even attempt to defend their overall
expenses of $25 million per year. Instead, they take one
sub-category, investment management fees, and try to
show they compare favorably. They claim that they pay
their investment managers less than other union pension
funds do. Whether it is true or not, it is like saying if my
electricity bill is less than yours, that means my total
household expenses are less than yours are.

Administrative expenses

The trustees make the same specious argument they made
in the Roadshow in March 2017: they compare absolute
administrative expenses of much larger funds, like the
Screen Actors Guild to ours. That is not the standard measure
of efficiency in the investment business. The industry standard
way to compare is to look at the ratio of expenses to assets
under management. On this basis, AFM-EPF has by far the
highest expenses of any peer pension plan. The trustees try
to make themselves look better by cherry picking their data:
stripping out expenses they don’t like (depreciation, professional
fees, PBGC premiums). Of course, if you can customize your
comparison you’re much more likely to get the results you want.
See our previous article on this topic here.

In closing, we would like to say that we will continue to raise
our voices until the AFM-EPF trustees and fund administrators
accept their responsibility and work to fully protect the pension
benefits of all fund participants. We encourage all AFM members
to do the same.

 

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II. Trustees Tout Expense Cuts
But Behind Closed Doors it’s Another Story

Recently posted in the Frequently Asked Questions section of the
AFM-EPF website is a highly important new disclosure that the
trustees have hired Cambridge Associates as an “Outside Chief
Investment Officer” (OCIO). This is an important development
because it puts in perspective just how out of touch the AFM-EPF
trustees are in December 2017. They are not replacing Meketa,
our fund investment consultant since 2010, but they are adding
another layer of management and expense heaped on top of
what is already the bloated administration of our pension fund.
It is no wonder that the expenses of the AFM-EPF are by far
the highest in our industry. Our trustees spent over $250 million
over the last 10 years, with an investment return that is dead
last in the business. (The 3 and 5-year returns are also at the
bottom of the peer group. See our previous article about
these numbers here.)

Now with the addition of an Outside Chief Investment Officer,
Cambridge Associates, expenses at the AFM-EPF will be
even higher. The layers of expenses at the AFM-EPF are
truly staggering. First, we have Cambridge Associates (OCIO),
then Meketa our fund consultant, both of which are taking
substantial fees for their overall management of the fund.
These two firms then choose over 25 investment managers,
who each take a cut of the assets under management.
Then there are often sub-managers who take a further
cut. For example, in the private equity and alternative investment
sector (in which AFM-EPF is heavily invested), most of the
funds we invest in are a “fund of funds.” These funds are
nothing more than general contractors who sub-contract
out the actual investing to other funds.

On top of all that expense, AFM-EPF office has a staff of
over 70 reporting to Maureen Kilkelly, who is earning
$425,000 per year and her deputy, Will Luebking, who
earns $280,000 per year. Cambridge Associates has
been hired by AFM-EPF as its “Outside Chief Investment
Officer (OCIO)”. If our trustees have outsourced the role
of chief investment officer, then what are all the high-
priced managers on staff at the AFM-EPF doing?

Finally, we must ask why, after turning in the worst
investment performance in our peer group over the
past decade, is Meketa still serving as investment
advisor and why is Meketa collecting a handsome
fee for doing the same work that Cambridge
Associates is doing? MPS has learned that in early
2016, the trustees hired Gallagher Fiduciary Advisors,
LLC, to select a new investment advisor. In October
2016, Gallagher recommended that Meketa not be
considered for this role. The trustees overruled that
recommendation and made the decision to hire
Cambridge and keep Meketa as well.

In December of 2016 when our trustees disclosed
for the first time that we might be facing cuts to existing
benefits as soon as spring of 2017, they sent to plan
participants an offensive letter stating What Participants
Can Do:

“Given our financial status, we are faced with the reality
of the one-dollar benefit multiplier as the basis for any
benefits earned in the future. This means that while
the AFM-EPF pension you receive will still be important,
for many the benefit will be a modest one. A modest
pension emphasizes the importance of having a
comprehensive retirement strategy that includes a
personal savings component to supplement the AFM-EPF
pension and Social Security benefits.”

In December of 2017, as our trustees still seem to be
embracing a plan to cut our existing benefits in the
near future, MPS has a message for “What Trustees
Can Do” on behalf of plan participants: Stop wasting
our money. Stop making poor management decisions
and stop saying publicly you are going to cut down on
expenses at the AFM-EPF while behind closed doors
the opposite is true. Start being accountable to plan
participants for your actions both past and present.

 

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

 

III. WHAT THE AFM/PENSION PLAN SENT OUT

Recently, participants have received emails from
individuals who have attacked Fund Trustees and
have misrepresented information about the Fund—
either by cherry-picking or presenting things without
any factual context—while making judgments not
supported by data and ignoring facts that don’t serve
their agendas.

We recognize that the financial status of our Fund
and the security of our participants’ pension benefits
is a concern shared by all. We have heard from you
that these third-party communications are causing
both confusion and distress among Fund participants.

Today, we want to set the record straight on some
important issues. We also call upon those who do
not support the long-term interests of the Fund, and
who are promoting their own selfish interests, to
cease making false and misleading attacks, and to
redirect themselves toward responsible, productive
efforts to protect the pension benefits of their fellow
Fund participants.

We are committed to ensuring that all participants
have access to timely and accurate information
about the Fund and its financial status. You can find
additional information on our website at www.afm-epf.org.

AFM-EPF Actuaries Analyzing Federal Legislation
to Assist Troubled Multiemployer Pension Funds

On November 16, we informed you of the Butch Lewis
Act, which was introduced by U.S. Senator Sherrod
Brown to address the severe challenges being faced
by multiemployer pension funds across the nation.
Congressional Democrats have stated their intent to
include this legislation in the omnibus spending bill that
must be passed by a now-extended deadline of
December 22.

When this legislation was first introduced, the AFM-
EPF Trustees, immediately and not due to any
prompting, directed our actuaries to determine if
the bill would, if enacted, provide the Fund with
the financial support required to avoid insolvency.
This analysis is currently underway.

If it is determined that the Butch Lewis Act helps
protect our participants’ pension benefits, then the
Trustees would support it, as we would any legislative
proposal that provides relief to the AFM-EPF.

OCIO Approach Streamlines Investment Strategy,
Expected to Generate Increased Returns

The Fund’s Trustees recognize the need for both
expert advice and the ability to respond quickly to
often rapidly-changing conditions in the financial
markets. As detailed in our recently updated FAQs,
we recently made the decision to streamline our
investment structure and process by shifting to an
OCIO (Outsourced Chief Investment Officer) model.
The respected firm of Cambridge Associates, LLC
has been engaged to oversee day-to-day decisions
for the Fund’s investment portfolio, acting within
parameters established by the Fund’s Investment
Committee and Board of Trustees.

Meketa Investment Group will no longer serve in
the role of Investment Advisor and will instead,
under a reduced fee structure, adopt the role of
Independent Monitoring Fiduciary for the OCIO.

We expect that, over the long term, this approach
will allow us to be more responsive to new and
changing market dynamics, and will lead to higher
investment returns after fees.

AFM-EPF Investment Expenses are Lower
Than Those of Other Union Pension Funds

The Trustees closely monitor investment fees and
make every reasonable effort to keep them to a
minimum. According to Greenwich Associates’
most recent survey of union pension funds (2016),
AFM-EPF’s active investment manager fees are
lower than the average in every asset class. Trustees
have also reduced investment fees by moving
assets into passive index funds where it makes
sense to do so.

AFM-EPF Administrative Expenses Closely
Monitored, Comparable with Other Entertainment
Industry Funds

Despite the false claims made by others, the data
proves that AFM-EPF’s administrative expenses
are actually in line with other large pension plans
in the entertainment industry. The chart below shows
that we fall right in the middle of our peers. Since
each plan has its own fiscal year end, for this analysis
we used the fiscal year (shown in parentheses in the
table) that contained as much of calendar year
2015 as possible.

It’s important to remember that our Plan was the only
stand-alone pension plan in this group. All other
entities administered a health fund, and, in most
cases, other ancillary funds among which general
administrative expenses, including staff salaries,
are shared. When comparing administrative expenses,
we adjusted the Form 5500 numbers to account for
that. We also removed PBGC premiums, depreciation
and professional fees to make this more of an “apples
to apples” comparison. Any comparison that doesn’t
account for these critical factors is totally inaccurate
and misleading.

Being in the middle of our peers is an accomplishment
because we run a far more complicated Plan than many
of our peers – we have thousands more collective
bargaining agreements and interact with thousands
more employers than most. When you compare our
Plan’s administrative expenses to six other similar
entertainment industry plans, we have the lowest
expenses per number of collective bargaining agreements,
the second lowest per number of employers and the
third lowest per number of participants.

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

 

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12/17/17

ASMAC/LAJS Holiday party @ Catalina’s in Hollywood

Dec 17 @ 11:30 am – 3:00 pm

Bill Cunliffe Trio with special guest Denise Donatelli
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UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47