I. COMMENTS ABOUT RUNAWAY SCORING AND THE COMPOSER MEETING
II. FILM MUSIC MAGAZINE ARTICLE ON COMPOSERS UNION
III. COMMENTS ON THE RECENT RMA MEETING
IV. ASMAC HOLIDAY PARTY AND BRUNCH!
V. COMMENTS
VI. EVENTS

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

We at the COMMITTEE hope you and yours had
a safe and FILLING Thanksgiving!

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

I. COMMENTS ABOUT RUNAWAY SCORING AND THE COMPOSER MEETING

There are 2 inherent problems with the statements
above regarding runaway scoring.

1. Composers are NOT in the AFM. No hours are credited for
composing and we receive no money, pension, or healthcare OR
secondary payments for our services as composers. Some
conductors and orchestrators are in the union, but there is
no way to fine any compositional work.

2. Composers (in almost all cases) do not choose to record
union or not. The production company owns the music and must
sign any assumption agreement. The composer has no choice and
can only do his or her best to persuade. Which brings me to
my main point:

*Most composers have said all along that much like any other
business, you cannot fine or muscle people into recording
here. At the end of the day (just like in any other industry)
you must offer a better product or service at a comparable price.

In order to keep work here, producers must get a better quality
product, with better service, quicker turnaraound, and it must
be done easier that anywhere else…if not they will go
elsewhere. Period.

In plain english, if producers can record a score here in town,
and it sounds better, and they don’t have to travel, and there
is no complicated contracts or back end language…they get a
great studio and great staff with wonderful equipment…and at
the end of the process, the price is relatively similar to them
going abroad (including travel, accomadations, and per diem),
then they will stay here with a smile on their faces…ALWAYS.

If the AFM and our music community cannot offer the scenario
above, then they will not.

Period.

It’s up to the AFM.

———————–

In response to the comment,
“COMMENTS ON RUNAWAY SCORING -
one possible solution…”

I’ve posted my comments here before, but with this issue having
become so persistent, I’d like to add my thoughts. While the point
in this comment was made that “most composers would probably
quit the AFM completely before any of this went down”, I think
that the idea of levying huge fines against composers or players
is the wrong approach and not an effective deterrent. I think the
problem of runaway scoring is really just a symptom of a shift
in the proportion of high-budget work to medium/low-budget work.

There has always been a cut-off point for employers as to when
they will hire union talent. This is not always based upon budget,
as many low-budget projects can easily afford union talent as
long as they are doing demo sessions or limited pressings, etc.
What has happened, though, is that there is now a larger percentage
of medium-low/budget work and at the same time a larger number
of professional musicians looking for work. The only remaining
question is whether our union wants to adjust and participate in
this new market paradigm.

The irony is that we ALL participate in this new market as consumers.
Think about this for a minute: 15 or 20 years ago, you probably would
never have gone to Costco to buy a flat-screen TV or shopped on the
internet for a new computer. But we now do this as a first option to save
money (and sales tax - can anyone say, ‘free shipping!’?). We all know
how the ‘mom-and-pop’ retail stores are being driven out of business
by the Costcos and Walmarts. Yet, do we fine consumers $50K for buying
from big-box stores? And many of us drive way out of our area to shop at
these stores. True, we have not all joined a union promising not to shop
from these retailers. But we do live in a different world now and have
changed our thinking patterns about spending money.

The federal government certainly makes an effort to control trade
imbalances with foreign countries by levying tariffs and other trade
negotiations; but the truth is that competition is here to stay in one
form or another. There will still be those of us that buy $10,000 HD
TV’s from the local mom-and-pop, either for convenience or because
money is not a big issue - which is another way of saying there will
always be rich folks who like to spend lots of money. And those same
folks will hire triple-scale union players and composers who won’t be
pressured to record in Madagascar. And it’s a good thing that there is
some pressure put upon employers by unions to offer fair pay and
benefits. It’s just that when that becomes an ultimatum, musicians will
always opt to first pay their rent and feed their kids before saying no to
non-union work. And most employers will always have another option,
simply because it’s a different market than it was 40 years ago.

So for the small percentage of our thousands of union members that
make a great living from union work, the threat of a fine may make sense.
But for the larger percentage of us, the only result of threats like this to the
membership is likely to be a much smaller membership, reduced income
for the union, and less bargaining power with employers. Many of us are
aware that there are those that want a smaller membership in our Local 47,
but will that really result in a stronger union and more union work for the
membership? Only time will tell.

———————–

from an English colleague…

Its doomed to heroic failure. It can’t work for every conceivable reason.
The strongest unions are those that represent people who can’t easily be
replaced outside the US i.e. writers and to some extent actors. Composers
aren’t in that category. Who is it going to effect - short film no budget
composers who do it for nothing anyway? Network composers who get
$20K an episode? The whole world is de-unionizing and the remaining
strong unions were established decades ago. We need a strong organisation
selling the value of composed music which is what is really under threat, not
the Teamsters of all people trying to apply 1970’s strategy to a 21st century
problem! We have students losing jobs to Indian and Chinese composers at
a fraction of the cost. This will only accelerate that process.

…. rant over

———————

the Composers wouldn’t dream of pairing up with such a weak
union - this is the only key to stopping runaway sessions from LA -
that’s if the composers make a stand and say they don’t go to
Seattle anymore - or elsewhere

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

II. FILM MUSIC MAGAZINE ARTICLE ON COMPOSERS UNION

10 Important Questions For The New Composers Union
By Mark Northam - November 24, 2009

The successful first organizing meeting of The Association of Media
Composers and Lyricists has been dominating film and television
composer news over the last two weeks. There are many exciting
developments happening in this area, and as the idea of a composers
union moves ever so slowly from concept to possible reality, a number
of critical questions have arisen regarding how this new union will
work and function.
While it’s impossible at this early stage to answer these questions with
any accuracy or finality, I believe it’s important to consider these issues
as we all go forward and decide for ourselves how a composers union
could work, and whether a labor union is the right step for us as an
industry.

1. What effect will a composers union have on performing rights
royalties and new media income?
Unions almost always bargain fiercely for residuals for their members,
which has become a critical component of compensation. Indeed,
composers at all levels of our business frequently are paid far more in
performance royalties for a successful film or television show than they
receive in initial composer fees from the production company. Given the
substantial penalties targeting instrumental music performance royalties
enacted by the performing rights societies, a composers union may be
composers’ best and only hope of fighting these discriminatory policies
that negatively affect every score composer who receives a royalty check
today. A composers union could also be critical in fighting to make sure
that composers receive their fair share of royalties for film and TV downloads,
not to mention working to overturn the outrageous exemption that prohibits
ASCAP and BMI from collecting royalties for movies shown in movie theaters
in the U.S.

2. How does a composers union benefit from the presence of lyricists?
The inclusion of lyricists in the new composers union, at least in name,
appears to be a political nod to various industry entities who may be more
“comfortable” having lyricists installed as an official part of a composers
union. Other than the rare case when an original song is commissioned for
a film or television show, lyricists have very, very little in common with
composers as far as working conditions are concerned. And lyricists are already
well represented by The Songwriters Guild of America, a well-respected guild
far more appropriate for their needs. Of the most concern to some is the
question of whether lyricists will be in a position, as they are elsewhere, to
veto or prevent the composers union from aggressively fighting for better
performance royalties for composers. In these situations, better performance
for composers could mean a reduction in performance royalties for songwriters
and lyricists, creating a built-in conflict of interest within a new composers
union.

3. Will being part of the Teamsters organization mean other
unions will support the composers union? If other Teamsters
member unions support and act in solidarity with a composers
union, that would create a very strong incentive for production
companies to hire union composers and pay composers union rates.
There is probably no better reason to have a composers union
than this - it’s the most powerful incentive for companies to
hire union composers. By the same token, if the other Teamsters
unions do not support the composers union, it opens the door
for production companies to hire non-union composers to avoid
paying union wages and benefits. Sadly, the American Federation
of Musicians does not receive this support from the other
Hollywood industry unions, which has directly enabled non-union
score recording on many Hollywood films and television productions
today. And speaking of the AFM, will being a union composer affect
the current freedom of composers to work with non-union orchestras
for score recording if a production company decides not to use AFM musicians?

4. Will low budget productions choose to use music libraries
instead of original score if composers unionize?
Some have speculated about the fate of low budget films and
television productions if composers unionize. Some believe that
low budget projects will simply use libraries instead of hiring
score composers if the production company is unwilling or unable
to pay composer union minimums. More than a few people I’ve talked
to in the library industry believe this, and for this reason
excited about the new business for them that a composers union
could “create” and are further encouraged by the apparent direction
of the new unionizing group to not establish minimums or union
coverage for library composing work.

5. What are the national ramifications of a composers union for
composers who live outside LA? Today, composers working via the
Internet can live almost anywhere and still be able to work
closely with directors on film and television projects.
Technology has had the effect of dispersing the geographical
concentration of composers that existed in LA in the 1970s and
1980s, and now composers live and work in towns and cities small
and large across the country and internationally, working with
a new generation of Internet-savvy directors and producers are
becoming more and more comfortable working with composers via
Internet. Labor unions have traditionally worked in a model where
the labor provided by their members is delivered in-person,
allowing for a territory-by-territory approach where different
cities would have different union locals. The Writers Guild of
America and other unions have successfully implemented the concept
of unionization using a more general geographical approach,
and it will be interesting to see how the composers union handles
today’s composers, spread far and wide. In the composers union
is to successfully represent a majority of film and TV composers
in the country, it’s going to have to include services that appeal
not just to the LA folks, but to composers in other, smaller
locales.

6. What about music library work?
The rapidly growing number of productions, especially in television,
that have stopped hiring score composers and are being produced
with 100% library music has muddied the waters considerably when
it comes to “who scores what” on television. Since the new union
intends to cover music written for film and television, what will
the union’s stance be on the multitude of different library deals
that many composers work under today, including retitling libraries,
traditional copyright purchase libraries, libraries where composers
are expected to hand over copyright for no up-front money, and
others? With music library use increasing exponentially on television
today, it’s hardly an area that a composers union can ignore.

7. Will major composers support a union?
Many have asked whether major composers will support, publicly
or otherwise, a composers union, and even whether the support
of major composers is a necessary element to create a successful
composers union. Since major composers would probably not work
for union minimum wages and are already being paid handsomely
for their work, the issue arises whether union minimums would
be harmful in any way to the current large paychecks enjoyed
by the top tier of major composers. In the end, if a composers
union can effectively bargain for better performance royalties
for score music, movie theater royalties or download royalties
for composers, this may become the motivation for major composers
to support a composers union since major composers already derive
a major portion of their income from performance royalties.

8. Will up and coming composers support a union and be able to
afford the cost of being a union member? The ability of the vast
numbers of new and up and coming composers in the industry
to be able to afford the initiation and dues required by a
composers union will make a big difference in whether this
large group of composers chooses to support a composers union.
To be successful, I believe a composers union must be able to
appeal to this important group which represents the future of
film composing.

9. Will a composers union be seen as an “elitist club” made
up of primarily LA guys or an inclusive organization that
strives to represent composers in all areas and levels of
the business? It’s no secret that some B-list and C-list LA
composers are more than a little bitter about the fact that
more and more work scoring film and television is being
awarded to up and coming composers and new composers in the
business. While these LA composers fret over careers that
have in many cases stalled out or declined and justifiably see
new composers as a threat to their livelihood, a new generation
of film directors and television producers are turning to newer,
younger composers to create music that they believe will better
appeal to the musical needs of today’s younger audience
demographics. While in past decades age and experience worked
in favor of many established veteran composers, that’s by no
means true today in a world where young, hip filmmakers tend
to hire young, hip composers. If these jaded, bitter B- and-C-
list composers try to use a composers union as a means to push
out the new, rising stars in order to try and prop up their
own careers, a composers union may find itself become outdated
and irrelevant before it ever is formed.

10. Can and will composers get together and make this happen?
Given the fact that composers, for decades now, have been
divided and conquered by those in our industry who assign
little value to original, custom score music and those who
create it, the question arises as to whether the current
generation of composers is of a mindset where they’re willing
to band together for the common good. Many of today’s composers
are mercenaries, with no industrial advocacy or representation,
having lived and worked for decades in a world where songs are
“king” and instrumental music is treated and paid as second-
class music, with libraries quickly encroaching on the domain
of original scoring. Indeed, it may be the next generation of
composers who haven’t already been conditioned to accept this
arbitrary devaluation of original score music that are the most
affected by a new composers union. These new composers may have
the most to gain or lose in these unionizing efforts, and may
be the most motivated to make sure that a composers union is
effective and strong, and beholden to no outside or conflicting
interests financially, politically or otherwise. We live in
interesting times, and it’s no exaggeration that the current
unionizing effort may indeed be the last chance that our generation
has to create a strong, independent composers union. Regardless
of the extent to which you support the current organizing groups’
efforts, I urge all composers to become part of the national
conversation and voice your opinion, ask questions, and get
involved in shaping the future course of our industry. We may
never have a better opportunity to do so than we have now.

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

III. COMMENTS ON THE RECENT RMA MEETING

Just got another unasked for email spam from the rma inviting me
to a meeting about the new “rma” film recording contract. There’s
no such thing as an rma contract, only an AFM contract. Last I
looked the rma is not a labor union, but a players conference.
Players conferences don’t create their own contracts, labor
unions do.

These folks are astounding in their own self-importance.
How stupid can their members be?

—————————-

OK Folks - you need to be sitting for these new developments regarding
the RMA last meeting and the new Motion Picture contract that took alot
of meetings and effort over the last nine months - we applaud the RMA
heads for working so hard but on the other hand we cant help but think
that it’s only about them and no one else.

The RMA of course takes full credit for sealing the deal on many fronts
and claims the AFM board were very ill prepared to handle the talks
themselves.

NUTSHELL - this is not all of them - just some highlights

* New Electronic Media addressed and new forms of downloads covered
* Slight increase in wages over next years
* Secondary Markets retained across board - no freebies to use recorded
music anywhere
* Motion picture health hours stay at a 12 hour credit per day worked -
BUT the Motion Picture Insurance is going to go away soon - in a year
or so - the IATSE folks and the AFM have realized we the recording
musicians are a drag on the Motion Pic Health Fund so we have to go
elsewhere - which is the Local 47 Health and Welfare fund….it will be
a good thing I think because it will have alot more strength with
recording jobs money going into it.

I’ve been saying for years that two health funds - one for Film and
TV work and one for all the rest is just plain wrong but the elite recording
folks held firm and claimed “that will never be touched and it’s such a
great plan we have to do everything to preserve it”. Now the hypocrites
are claiming a “victory” that going over to the Local 47 Health fund is
their idea and actually it is a good thing - alot more musicians will easily
qualify hopefully - unless the thresholds are raised again to just have the
“YO” recording cats get some stupidly high threshold.

* Pension Fund related:
In the words of Phil Ayling and other RMA heads - “Since the Pension
Fund is going to only pay out one dollar per one hundred dollars put into
it - Secondary Markets is your only hope to have a pension once you
stop working. HELLO….that’s if you’re even working recording movies
and TV shows, IDIOTS. That’s only if composers can even get a union
contract, thats if somehow Runaway scoring is stemmed…..come on!

* So you see, not much hope unless your in “THE IN CROWD” to
either work or even get a goddamned pension because it’s gone, down
to nothing for your payout.

* A couple of people at the end of the meeting asked questions about
the loss of recording work and was anything addressed in the
negotiations about Runaway sessions and the Motion Picture companies
breaking the very contracts that we just signed with them….for example
someone mentioned IRON MAN 2 is going to be scored by John Debney
in London supposedly - Iron Man franchise is owned by Paramount but
not originally produced by Paramount Pic.s (signatory to AFM) even
though they will own it in distribution.

Thanks John Debney for turning down the movie because it was non
AFM, non union scoring out of town. Thanks John for being one with us
in solidarity. John, your name and address are in the Local 47 book - I
know there is no representation of a “Composer” listing in the AFM
but - in solidarity you shouldn’t be running around the globe to record
my friend. Just like I’m supposed to turn down dark dates, so are you
buddy.

* There is everything wrong with what is going down these days and
only one thing right……movies are still going to get made years to
come……now whether those movies involve LA musicians is another
story. Were probably too late to right this ship.

———————————-

JUST THE FACTS JACK

If you DON’T think Local 47 is run by the Recording Musicians
Association, think again.

If you think Paramount scoring stage and Todd AO scoring
closed to allow for more office space, think again.
- it closed because there is not enough front end recording
work happening - period.

If you think the AFM Pension fund has declined solely because
of the economy and poor investing, think again.
- it has declined from the lack of front end monies going into
it - lack of recording for one - and also the folks pressing their
pension button because they see the writing on the wall that it may
go away.

If you think the Motion Picture Health fund is kicking out the
musicians because of any other reason other than there just isn’t
enough front end work, think again.

If you think producers are going to stop using Seattle, London,
Prague, Bratislava, Sofia Bulgaria because they aren’t as good as LA
Musicians, think again. - they go there because it is safe to record
a non-union score there.

The AFM actually wants to and has attempted to re-capture
some work in some of the fields with great angst from the RMA -
the RMA even went as far to spend YOUR AFM dollars to try to sue
the AFM.

The RMA guys have formed an illegal guild called “The
Professional Musicians Guild” - poised to defect from the AFM,
poised to try to take a contract with residuals to the Motion
Picture Alliance. And they keep telling us to stand firm and unite.

If you think the current business models (which are actually
the old ones - ie: special payments fund from 1966) in place for
the AFM for recording platforms are NOT antiquated, think again.
- with technology and the internet all current business models are
rendered antiquated and useless.

If you think all this is tragic and you have no voice - YOU’RE
KIND OF RIGHT.
BUT, “the price of apathy is to be ruled by evil men.” Plato

continue to write in to the anonymous committee blog - it is helping

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

IV. ASMAC/LA JAZZ SOCIETY HOLIDAY PARTY AND BRUNCH!

Happy Holidays!

THE AMERICAN SOCIETY OF MUSIC ARRANGERS & COMPOSERS

wishes everyone the happiest of holidays and extends our best
wishes for a New Year filled with prosperity, joy and music.
Please join us for our 2009 Holiday Brunch to celebrate the
season with the American Society of Music Arrangers & Composers
and the Los Angeles Jazz Society.

Share a toast with old and new friends; pick out a special holiday
gift at our Silent Auction; enjoy a fabulous Holiday Brunch and
cap it off with the amazing music of the John Clayton Holiday
Quartet.

2009 Holiday Brunch
Sunday, December 13, 2009

12:00pm - No-host Cocktails/Silent Auction
12:45pm - Bountiful Buffet Brunch
1:45pm - Entertainment

JOHN CLAYTON HOLIDAY QUARTET

John Clayton, Bass
Chris Dawson, Piano
Graham Dechter, Guitar
Kevin Kanner, Drums

CATALINA BAR & GRILL
6725 West Sunset Blvd. Hollywood, CA 90028
Parking $6 - behind building - enter on McCadden

LAJS and ASMAC members $40 (limit 2)
Non members and guests $50

Entertainment Only: Please Check-In after 1:30pm
includes Emtertainment, Dessert & No-Host cocktails $20

Please reserve by Thursday, December 10th, by sending
payment to:
ASMAC, 5903 Noble Avenue, Van Nuys, CA 91411
or by calling with credit card info to (818) 994-4661

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

V. COMMENTS

The comments below and elsewhere in this mailing represent the
typically uncensored views of the readers and not necessarily those
of the COMMITTEE. In the faith that freedom of expression allows
for the birth and ascendancy of the most beneficial ideas, all sentiments
expressed are welcome, subject to the bounds of good taste and
decorum. If you disagree with an opinion expressed by any contributor,
we encourage you to rebut it here.

—-

according the the RMA bylaws, they are supposed to have a biennial
election in the winter of odd-numbered years.

Pete Anthony was elected President at the last election in November
2007…

why haven’t they announced elections? And has anything changed, or
gotten better, with Pete Anthony as president? Can anyone point to one
improvement?

By the way, ANYONE can join the RMA if you are an AFM member, and as
such, anyone in the RMA can run for ANYTHING. No experience necessary.
All you have to do is show up the night of the elections, nominate
yourself or have someone else nominate you!! It’s THAT EASY.
President, Vice-President, board members, everything is up for grabs.

RMA members: start calling/emailing and asking the board when the
elections will be held. Also you can demand a list of their bylaws if
you wish.

http://www.rmala.org/pages/contact.aspx

(name withheld)

——————————–

Bravo on reporting that our #47 Secretary didn’t reveal herself to the
Teamsters.
A revealing display of her character.

——————————–

Well folks, we’ve not done this before, but since someone asked…

Could you please let everyone know we are selling one of our Jeeps:

1993 Jeep Grand Cherokee
Black/ tan interior
132,000 miles

Originally owned by Tower of Power’s drummer, then Santana’s
bass player Alphonso Johnson, then myself.
Full power
Custom wheels
Back seat splits in half for carrying cargo + passengers
Great comfortable cruise vehicle!
$2500 or best offer.
We love our Jeeps but we don’t need 3 cars anymore J
310-676-4884

Love,
Lisa Haley

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

VI. CONCERTS AND EVENTS

11/29/09

Dear fellow L.A. Musicians,
We will again be appearing at the famous LIGHTHOUSE CAFE.
It’s the quartet with the addition of the brilliant young
baritone saxophonist Adam Schroeder, a extremely talented
improviser and jazz player. Please come by and hear our
jazz conversations.

WHAT: The KIM RICHMOND Quartet + 1
WHERE: The Lighthouse Cafe, 30 Pier Ave, Hermosa Beach
CA 20054 http://www.thelighthousecafe.net/
WHEN: This Sunday, November 29, 11 AM to 3 PM
WHO: Kim Richmond, alto/soprano saxophones
Andy Langham, piano
Jeff D’Angelo, bass
Jon Nathan, drum
and special guest Adam Schroeder, bari sax
ADMISSION CHARGE: none
PARKING: Parking lot in back, street parking, parking structure
just north of Pier Ave.

——————————–

11/30/09

Barry invited you to “World Tour: Music by Socher
Sallinen & Tchaikovsky” on Monday, November 30 at 8:00pm.

Event: World Tour: Music by Socher Sallinen & Tchaikovsky
“30th Anniversary Season Concert 2″
What: Concert
Start Time: Monday, November 30 at 8:00pm
End Time: Monday, November 30 at 10:15pm
Where: Neighborhood Church

To see more details and RSVP, follow the link below:
http://tinyurl.com/ygejyru

Thanks,
The Facebook Team

——————————–

12/2/09

Relax during your lunch hour with live music.
Light lunch created by ANGELA’S BISTRO available
for $6 after concert.

LOCATION:The Chapel at FIRST BAPTIST CHURCH OF GLENDALE
209 N. Louise St. (at Wilson)
Glendale CA 91206
818 242 2113
Map & venue info http://www.fbcglendale.net
More info email teena.frazier@fbcglendale.net

DECEMBER 2, 2009
RECITAL featuring
Adriana Zoppo - viola d’amore
performing ATTILIO ARIOSTI
and
Three Romances Op. 94 for oboe & piano by ROBERT SCHUMANN
Catherine Del Russo - oboe
Rosa LoGiudice - piano

DECEMBER 16, 2009
HAPPY BIRTHDAY BEETHOVEN!
PIANO TRIO Op.1 No.3 in E flat Major
KEWA ENSEMBLE
Jacqueline Suzuki - violin
Pam deAlmeida - violoncello
Rosa LoGiudice - piano

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

——————————–

12/13/09

PRESS RELEASE:
Bill Cunliffe’s “It’s a Wonderful Life” Holiday Jazz Concert,
Reception and Movie Screening: Sunday, December 13, 2009

Grammy nominated pianist/composer Bill Cunliffe will put on
his “It’s a Wonderful Life” Holiday Jazz Show on Sunday,
December 13 , 2009 in the Chapel at the First Baptist Church of
Glendale located at 209 N. Louise St. ( at Wilson) Glendale CA 91206.

The jazz concert will be from 4:00pm to 5:30 pm
followed by a Holiday Reception, photographs and snacks.

At 7:00 pm there will be a free screening of Frank Capra’s 1946
film classic “It’s a Wonderful Life” starring James Stewart.

Tickets for the 4:00pm jazz concert can be purchased
at the Brown Paper Tickets website:

$20 Adults
$5 Children under 12
http://www.brownpapertickets.com/event/90348

For event information call 818 -632-4868.

———————————-

12/5/09

A show of small oil paintings at the Segil Gallery in historic
Old Town Monrovia. Many artists are featured in this show
including Chris Zambon.

This starts at 5 PM. The show will be up for a month.

Segil Fine Art
110 West Lime Avenue
Old Town Monrovia CA 91016
(626) 358-5563

Chris’ webstie address is:
httpp://www.chriszambon.com

———————————-

“Lisa Haley upcoming shows,”

12/24/09

50th Annual MUSIC CENTER HOLIDAY CELEBRATION

MERRY CHRISTMAS!
- THURS 12/24/09: LOS ANGELES, CA - DORTHY CHANDLER PAVILION
PLUS LIVE BROADCAST! ON KCET, KOCE, KLCS, KVCR-TV
Show is 3-9PM - Lisa Haley & the Zydekats performance time TBA
http://www.holidaycelebration.org

—

12/31/09

ANAHEIM, CA - DISNEYLAND NEW YEARS CELEBRATION! - 8PM
WE COUNT THE PARK DOWN TO MIDNIGHT ON THE RIVER OF THE
AMERICAS!
http://www.disneyland.com/

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47
Visit us at www.responsible47.com

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