I. LOCAL 47 MEMBERSHIP MEETING THIS MONDAY, JANUARY 25th, 7PM
II. COMMENTS ABOUT AMIE MOORE
III. ERIC HOSLER RESPONDS
IV. FILM MUSIC: THE WORLD VIEW
V. COMMENTS
VI. EVENTS

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

I. LOCAL 47 MEMBERSHIP MEETING THIS MONDAY, JANUARY 25th, 7PM

IMPORTANT COMMENT FROM A MEMBER CONCERNING THIS MONDAY’S MEETING!
We thank the member for the corrections to our previous mailing.

Hello!

If there is not a quorum then under the new rules (this will be the first
application), an immediate Executive Session will be called….pro-tem
appointed if necessary to make a quorum, and after reasonable discussion
(see your Overture for the exact wording) the Executive Board must vote.
So it will NOT be the NEXT DAY that this resolution will be decided…it
will be in front of anyone who is present Monday night.

Union members are guaranteed the right to free speech AND
ASSEMBLY both inside and outside union meetings. Speech
protected under the LMRDA includes not only the right to verbally
support a members’ choice of candidates, but also the right to
criticize election procedures and decisions which the member
feels are in conflict with the democratic policies behind the
LMRDA.

Even common sense dictates that for those rank & file members
who so desire, becoming a candidate for office should be a
process made as open and accessible as possible; not a
process that is difficult and prohibitive, and obviously favoring
the incumbents.

The Resolution at issue must be defeated and if it is not it will be
formally appealed to the Department of Labor after the election.
This proposed bylaw change is certainly not a reasonable rule
or regulation to be imposed on the membership, in fact, it prohibits
rank and file participation AND give the incumbent administration
an unfair advantage. The Office of Labor Management Standards
that has regulatory oversight for union elections has in place
procedures for such a challenge/appeal. This proposed resolution
to be voted on at Local 47’s membership meeting Jan. 25th will
make it much more difficult for the vast majority of the
membership who are not regularly employed in larger groups to
be able to get the requisite 50 signatures to run for office at
Local 47.

Such a restriction imposes a significant burden on those members.

Voting against this bylaw change at the next membership meeting
is VERY important. Incumbents inherently have a huge advantage
anyway. We should not vote to make it even harder for regular
rank and file members to run for office! PLEASE attend the next
Local 47 meeting to vote against this bylaw change!

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

II. COMMENTS ABOUT AMIE MOORE

———————————-

Amie has done so much for me over so many years that I can’t
sing her praises enough. I wouldn’t have completed my album
with out her and the union studio.

BTW what’s with the sudio… does it exist anymore?

———————————-

Committee,

For years I depended on Barbara Markay for advice on everything
from cd production and distribution to how to best improve my
career. I was incensed with her firing by Local 47 for no good
reason, followed closely with the firing of Errol Henry, also for no
good reason.

Now I’m hearing of potential problems for Amie, who has, since
Barbara’s firing, turned out to be by far the most knowledgable
and helpful person down at the Local. I hope if there is something
going on down there either she or other employees will let us all
know.

———————————-

Amie continues to be a focal point of strength (over 20 years)
as I work through my career development, I’m in your debt.
thank you A!
k

———————————-

I have to concur with the above.

Amie is a stealth”bomber” :). Her expertise, knowledge and background
is what makes her SO very special. She is articulate, courteous and
conducts herself in a truly professional manner(which I find very
rare these days). I can’t thank her enough for helping me with
numerous recordings and issues surrounding legal and labor law.

It has not only been a pleasure working with Amie Moore, but
an honor.

———————————-

Amie is wonderful. Words cannot describe how easy she is to
talk with and to articulate any issues I might be having.
Her wealth of experience and knowledge cannot be overlooked.

———————————-

I’d also like to give my 2 cents for Amie Moore. It is refreshing
to have someone as professional and experienced as her to turn
to. She has been a constant source of information and support
throughout my career and I’ve always appreciated her prompt and
courteous manner when addressing any concerns or questions I’ve
posed. She really has been a backbone of support!

It has been a pleasure working with her in the past and I look
forward to continuing to work with her in the future.

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

III. ERIC HOSLER RESPONDS

In response to the editor’s comments, one simple question:

Do you really believe that RMA created global outsourcing?; or
could it be BAD TRADE AGREEMENTS that should be drawing your fire?

You remind me of my dog, who seems to believe that chicken skin
is created in the microwave. Thank goodness Shasta (my wonderful
husky) isn’t allowed to vote…

Eric Hosler

—————————

OUR RESPONSE:

Technology has played a role, with the proper plug-in you can record
in real time with virtually any orchestra in the world. That provided
one of the methods. Samples provided another. However, any forward
thinking person with the entire world of orchestras and musicians
literally at their fingertips via protools would realize that pretending
the rest of the world doesn’t exist and that using an old world game
plan is a sure recipe for disaster in AFM Recording work. Indeed, that
has proven to be the case.

As is all too clear and has been ceaselessly repeated here (Sorry, folks
- but repetition of the truth doesn’t make it less so), the RMA’s “NO
BUYOUT, NO WAY” policy has driven work that would otherwise have
stayed here to other, cheaper, but no less accomplished musicians in
other locations everywhere in the world. The arrogance, attitude and
atmosphere of some of the musicians at sessions here has driven work
away as well. The RMA members BS with the Simpsons Video Game
sessions drove most of the Video game producers away and put the
RMA’s taint on all of us.

Thanks, RMA.

REALLY BAD TRADE AGREEMENT

Wanna talk a BAD TRADE AGREEMENT? Only one source for film scoring in
the world (The AFM, presently crippled by RMA intransigence) will not
negotiate with contracts take a world view. Our share has dwindled and
because other locales have proven themselves just as capable, without
the padding, double and triple scales, arrogance and greed of those
who imagine they’re better than anyone else (they’re not, just ask
anyone who’s lived in another country), the work has left and resettled
in those locations, never to return.

The AFM is burdoned with a small cadre of recording musicians willing
to see the market destroyed as long as it lasts till their retirement,
pretending its not a global market now as we all pay the price for
the damage they are causing. The younger RMAers seem willing to destroy
their own future prospects to squeeze every last drop of recording here
until the market atrophies.

Mr, Hosler, your faith in your “RMA” ideology has enabled the
“outsourcing” to take hold far more and far more quickly than it would
have if your buds has not been so unbendingly selfish, looking only
to short term gains and not to a viable future for everyone else. Truly a
prime example of, “As long as I get what I want want, forget you.”
You are in effect standing still as the world moves on without you,
and all of us who had no hand in the damage done by you and yours
are paying the price.

Then again, these are probably not your words, but the words and
talking points fed to you by the dynastic duo, your words being
identical to those before you. No doubt you’ll disappear and the
next “RMA surrogate” will appear to make the same statements yet
again.

You’ve done your job, another week of sessions for you!…. who’s
next on the list?

THE COMMITTEE

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

IV. FILM MUSIC: THE WORLD VIEW
Mark Northam from FIlm Music Magazine

In recent weeks I’ve traveled to Australia, Beijing, Los Angeles and
New York, and have noted a significant increase in the “world view”
in terms of how composers, songwriters and musicians worldwide
see the world of film music, and how they are structuring their careers
to take advantage of new global opportunities. Some observations:

Composers: Regionalization vs LA-Centric Attitudes
In the past, many composers outside the US believed that to be
successful, they needed to move to Los Angeles and compete with
LA composers for the attention of filmmakers. More and more this is
not the case, with composers in different countries finding more and
more local independent film opportunities where the films are being
picked up by top Hollywood distributors, providing more exposure,
visibility and prestige for the composers involved. While many composers
still look to LA as the “top of the mountain” of film scoring, composers
are increasingly able to live elsewhere and work with LA filmmakers via
Internet, thanks to a new generation of Internet-savvy filmmakers who
look globally for the talent and music they need.

LICENSING: WORLDWIDE DEALMAKING TODAY
Since licensing music doesn’t involve face-to-face contact in most cases,
the world of music licensing has already taken on a significant international
component. Composers and songwriters worldwide pitch their music to
libraries, production companies and music supervisors on a daily basis via
the Internet, and with some luck and a lot of talent, an international composer
can find some significant success working with US production companies and
libraries. Likewise, US composers may want to spend more time and resources
considering the increasing regional and international marketplace for licensed
music and score composers for international films.

SCORE RECORDING: MORE ORCHESTRAS, MORE RECORDING OPPORTUNITIES

While the American Federation of Musicians (AFM) union considers whether to
offer buyouts for film and television score recordings as the rest of the world
does, an increasing number of international orchestras are competing for score
recording projects, for both face-to-face live scoring and scoring live via Internet
using Source Connect ProTools plug-ins to provide a “live” studio experience.
The increased number of orchestras present composers with more options, both
financially and musically, for using live instruments in their score recordings.
We’re also seeing increased competition within the US for score recording, with
Seattle keeping very busy (some months working 20+ scoring days a month)
and new competitors like Louisiana, and soon Arizona creating new opportunities
for composers. The AFM faces a very tough decision: offer a buyout to better
compete with the growing number of domestic and international scoring orchestras,
or preserve residual payments to protect US musicians’ hard-fought benefits,
gained over decades of negotiations. There’s no easy answer to that question,
and AFM President Tom Lee has the unenviable task of trying to carve out a solution
that addresses both international competitive aspects and the livelihoods and existing
contract benefits enjoyed by AFM recording musicians.
While there are those in our industry that will bemoan the fact that more composers,
songwriters and musicians are competing for a finite amount of work, I cannot support
that attitude. Things are evolving quickly in all aspects of our culture, technology and
business, and the music industry is no exception. The record industry complained and
ignored the worldwide “free music” Napster phenomenon until it was too late, and now
what’s left of the record industry spends much of its time and money playing catch-up,
trying to salvage what’s left of its business with questionable schemes including
lawsuits against individual music users and adding recording industry fees to college tuition bills to compensate for file sharing.

Composers, songwriters and musicians focusing on the film and television market cannot
afford not to be aware of the worldwide aspects of the industry, and the worldwide
competition. While worldwide competition may make things tougher and more competitive,
smart musicians will realize that the same expanded world environment also presents new
opportunities for work and career success, whether it’s accessing a foreign indie film
market for composing or licensing gigs, or musicians playing on an international composer’s
tracks via recording by Internet.
The real danger is not global competition, it’s ignoring global competition and not factoring
it into your overall career plan.

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

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.

———————————-

I recently received an email solicitation from Tom Lee to attend
a campaign fundraiser for Congressman Paul Hodes who is
running for Senate for the state of New Hampshire. They were
basically trying to get money from Los Angeles local members
for a Senate race out of state. I resent being solicited for a
partisan race like that and that. Vince Trombetta, our local’s
president, is also mentioned in the fundraiser letter supporting
this race. I understand that TEMPO is a PAC that supports
legislation for musician’s issues and we are free to make voluntary
contributions, but this was crass and inappropriate for them to
use our membership’s email addresses to try to shake us down
for their political ends. We are a diverse membership and are
free to contribute to any political candidates we choose. I find
it disturbing to have our names sold to a mailing list like that
to try to coerce us into supporting candidates that many of
us have no interest in endorsing.

please withhold name

[COLLEAGUES,
Members of the COMMITTEE were sent the same invite to
the same breakfast, as most of you probably were. Information
about his campaign breakfasts are probably sent to AFM members
in every local the congressman goes, because Representative
Hodes is an active and current AFM member who has been doing
a great deal of work on the behalf of musicians' and artists' rights.

While everyone was invited no one was required to attend
nor give money, and chances are everyone gets solicitations
for money every day. At least in this case it was for one of our
own trying to protect our rights.

Local 47 President Trombetta was mentioned because he was
going to attend the function. We do hope that he spent his own
money paying for the breakfast and not the members' dues.
That would be totally inappropriate. After all, our membership
spans all political parties and it would be wrong for the President
to use our dues to attend such a function whether the politician is
Democrat, Republican, Independent, green, Libertarian or whatever
political party.

We understand the member resenting being solicited, but just
as many perhaps had no clue that we had an AFM member
in the House of Representatives working on our behalf.
The solicitation was fine with us.]

———————————-

Re: Trombetta Teaching- Students may not be a union gig but I’ll bet there
are many reed players trying to cover the bills by teaching. What is the
difference between him and Leslie since we have “teaching” as a component
of our referral service? Just a thought.

—————————————-

Keep up the good work… I talked to several other bassoonists and they are
really upset and angry at Sec. Lashinsky’s doing gigs here in town. How
much is enough? She’s receiving a salary of of $70K, and yet has to take
sessions and Gigs that should be done by full time players… Apparently,
she considers herself a “full-time Player” as well as the Secretary of the 47!!

—————————————-

RE: NON-UNION AUDITORIUM

By deliberately choosing NON-UNION contractors for this huge job, Local
47 on behalf of the AFM has SOLD OUT every other union in Hollywood, and
as a result Local 47 and its members should expect NO LOYALTY at all
from any other labor union. It is difficult to comprehend the amount of
long-term damage this penny-wise, pound-foolish move has caused, or will
cause in the future. It’s a shining beacon to all that Local 47 values
THE CHEAPEST PRICE far more than UNION PRINCIPLES or even LOYALTY.

Local 47 has also sold out its OWN MEMBERS. How? Every touring show,
foreign recording orchestra, and scab worker in the industry not to
mention the non-union recording folks in Seattle and elsewhere have
just been handed a gold-plated justification for people to hire them,
courtesy of our Local 47 Executive Board. And every production company
in town has been sent a clear message by our Executive Board: hiring
non-union labor if they’re cheaper is ABSOLUTELY FINE. If our Executive
Board WANTED to dismantle the concept of loyalty and supporting union
workers, they couldn’t have done a better job.

—————————————-

Rick Blanc on “About Rick Blanc.”

The person who submitted this comment did so anonymously, making his
own membership status unverifiable. He may be in conflict with his own
expressed criteria. I suppose we are to assume facts not in evidence. Actually,
I believe I know who the auther of this comment is — we’ll call him DP for
now. This unimaginative, repetitious and aggressive fellow seems to have
a fixation about my current AFM membership status and has made comments
similar to the one he posted here on other occasions.

He is the only person who seems to care one way or the other. I would argue
his objection to me is more emotional and personal than rational or intelligent.
Does he think membership one way or another will change my thinking at
this point in life? Not if he’s rational and intelligent. Does he think it would
effect whether or not I express my opinions? Same answer. Is it the $200.00
dues? If it’s AFM financials he’s concerned about he’d be better off working
to end RMA litigation which the AFM is forced to defend against at great
expense. Not DP — he’s up to his eyeballs in RMA, current member or not.

Rather than understand and deal effectively with complex issues DP deludes
himself a la Rodney King; “Can’t we all just get along? Can’t we just work
together?” Actually he is guilty of the worst intellectual sin of all; he’s boring.

This blog is about issues; it is not about me. It is presumptuous for the
author to make judgments about who should post on the Committee blog,
or my right to speech and exercise thereof. Further, the question “why
would he (meaning me) be the spokesperson for the Committee,” is
answered as follows: I’m not ‘the spokesman,’ not for the Committee or
anyone else. I contribute from time to time as others do.

To question my motivation is another pedantic, pointless digression.
The focus should be on substance not personalities. The futile attempt
to discredit me via fatuous comments is gratuitous; the author should
stick to the facts and focus on the issues — and stop whining about
what other people write.

RICK BLANC (Please Attach Name)

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

VI. CONCERTS AND EVENTS

———————————-

1/18-24/10

LAGUNA BEACH MUSIC FESTIVAL

Music of Paul Chihara, Philip Glass, Steve Reich showcased
in 8th annual festival

January 18-24, 2010

Laguna Beach Artists’ Theatre and elsewhere

Laguna Beach Music Festival (January 18-24, 2010) unwraps
new music by some of America’s top contemporary composers
and mates film to music by profiling composers who have
made significant contributions to both film and concert music
and by fostering three new musical scores for the premiere
of a 13-minute documentary film.

Philip Glass’ Sonata for Violin and Piano
Steve Reich’s Vermont Counterpoint, a solo for flute and taped flute

Reflections on The Living Sea (film) composers are Pamela Madsen,
Sharon Farber and Paul Chihara; their differing approaches capture
the broad spectrum of inspiration that film brings to music.

The music of Toru Takemitsu, Erich Korngold, John Corigliano
and 2010 Festival artistic director Paul Chihara is featured as well
as works by composers more frequently identified as film composers
including the great John Williams, James Newton Howard (Pretty
Woman, Blood Diamond) and Bruce Broughton (Silverado, Young
Sherlock Holmes, JAG).

Bringing this marriage of film and music full circle is composer
Donald Crockett’s “Night Scenes,” the Festival’s fourth commission
for 2010.

for more info, please contact
http://pitch.pe/39620

———————————-

1/24/10
BENEFIT FOR HAITI
SUNDAY Jan. 24th! at 7:00pm.

“If you can tune in great! If you can contribute your
talent FABULOUS!”.

Event: Benefit For HAITI, SUNDAY JAn. 24th!
“the best little internet-athon you ever saw!”
What: Fundraiser
Start Time: Sunday, January 24 at 7:00pm
End Time: Sunday, January 24 at 10:30pm
Where:
Kulak’s Woodshed
www.kulakswoodshed.com
5230 1/2 Laurel Canyoun Blvd.
North Hollywood/Valley Village CA 91607
818-766-9913
paulkulak@earthlink.net

Benefit for HAITI
All proceeds to benefit RED CROSS and DOCTORS WITHOUT BORDERS
-100 % of all donations go charities the the above charities.
-no overhead,
-all volunteer!
Guests, all star band, and guest artists to be named later..watch
for updates! Still needed celeb singers, and PR persons to
help get the word out.

But! WE ALONE can make this event incredibly successful if
you all tune in and email everyone you know to tune in!

Grass roots event that takes seriously the phrase to “act
locally to affect globally”!
WE CAN DO IT!
Sunday January 24, 2010 beginning at 7pm.

All donations must be made directly to donors charity of choice.
Kulak’s Woodshed will not accept payments in any form for this event.

Those hoping to attend in person here in North Hollywood will be required
to participate in an auction for available seats. Those who make the largest
donation pledges will have 1st priority on seating.
Our capacity is 49 people.

Please email paulkulak@earthlink.net for info.

———————————-

1/24/10

The Prometheus Symphony Orchestra
will present its second 2009-2010 Season Concert
this Sunday, January 24, 2010

-Ludwig van Beethoven, “Egmont ” Overture Op.84
-Johannes Brahms, Symphony No. 2 in D Major Op.73
-Ernest Bloch, Suite Hebraique for Viola and Orchestra
Karen Elaine, viola

Time: 3:00 PM
Date: Sunday, January 24
Location: St. Paul’s Episcopal Church
114 Motecity Avenue
Oakland, CA
Near Lake Merritt and Grand Ave (off 27th St.)

Concerts are FREE to the public
(Donations gladly accepted)

———————————-

1/25/10

LOCAL 47 GENERAL MEMBERSHIP MEETING!
7pm AT LOCAL 47!
Have your voice heard!
Vote NO on the election signature collection resolution.

———————————-

1/25/10

After the meeting head out to Charlie O’s to hear
THE DAVID ANGEL SAXTET!

CHARLIE O’s
Monday 8:00 PM - Midnight

13725 Victory Boulevard (Parking at the rear of the building)
Nearest Cross Street: Woodman Avenue
(818) 994 -3058

This is a very special group,
Great arrangements, swinging ensemble, and great soloists

Phil Feather - Alto/Soprano Sax
Gene Cipriano - Alto/Soprano Sax
Roger Neumann - Tenor Sax
Tom Peterson - Tenor/Alto Sax
Bob Carr - Baritone/Alto Sax
David Angel - Baritone Sax

Dave Koonse - Guitar
David Tranchina - Bass
Kendall Kay - Drums

———————————-

1/29/10

BERN at SPAZIO
on Friday, January 29 at 9:00pm.

Event: BERN at SPAZIO on a FRIDAY (new club for us)
“Call the babysitters NOW! (A RARE Friday night performance!)”
What: Performance
Start Time: Friday, January 29 at 9:00pm
End Time: Saturday, January 30 at 12:00am
Where: Spazio
14755 Ventura Boulevard
Sherman Oaks, CA

———————————-

1/30/10

CULVER CITY SYMPHONY ORCHESTRA
47th Season, 10 Years in Culver City

We continue our 47th Season with an unique concert on Saturday,
January 30, 2010, 8P.M., at Veteran’s Memorial Auditorium,
4117 Overland Avenue, Culver City; at the corner of Culver
Boulevard and Overland Avenue. Free parking is available.

PROGRAM:

Villa-Lobos (Brasil): Bachianas Brasileiras, No. 1 (1932),
[Arranged for String Orchestra (2009)-Matthew Hetz (U.S.)
(Premiere Performance)]

Charles Fernandez (U.S.): Elegy for Oboe and Strings (1998),
Linda Margeridge-Oboe

Copland (U.S.): 3 Latin American Sketches (1972), Orchestra
Revueltas (Mexico): Homenaje a Federico Garcia Lorca (1936), Orchestra

Barber (U.S.): Concerto for Violin and Orchestra (1940),
Stirling Trent-Violin

Frank Fetta - Conductor

Some of these works are seldom performed, offering you the
rare opportunity to stretch your ears to sounds of the Americas.
This is a program of 20th Century music which is definitely on the
lyrical side.

The Villa-Lobos and Barber works are quite lyrical.
The Copland work contains the liveliness and openness of sound
we expect from him, mixed Mexican and Latin spices.

Charles Fernandez’ work is a lyrical commemoration for his father.

The Revueltas has Mexican and Aztec musical shadows and images,
in his deeply felt homage to a murdered Spanish poet.

There is no admission charge for this concert. However, these
concerts are not free to present. Your financial support for the
orchestra will make these concerts possible.

The Culver City Symphony Orchestra
Presented by:
The Westchester Symphony Society, Inc.
P. O. Box 4846
Culver City, CA 90231
www.culvercitysymphony.org

Join our mialing list, to receive fliers in the mail, or to contact
us via e-mail: info@culvercitysymphony.org
ph. 310-717-5500

———————————-

2/2/10

CHRISTIAN HOWES CLINIC WORKSHOP, FEBRUARY 2, 2010
We the String Project Los Angeles are excited to announce that
Christian Howes is returning to SPLA on Tuesday, February 2nd
to present a clinic/workshop.

Chris is without question one of the greatest violinists in the
world today. The workshop is for intermediate and advanced
string players, but even beginners and those with no
improvisational experience are encouraged to attend.

Private lesson slots are also available before the workshop.

For more information about Chris Howes, click HERE.
Reserve your spot today at www.stringprojectla.com.

String Project Los Angeles
12804 W Washington Blvd.
Los Angeles, California 90066
310 385 0227

———————————-

2/3/10

THE HELLEDIE/MOORE DUO

Wednesday February 3, 2010 at 12:10-12:40 pm
at the Glendale Noon Concerts.

France Moore - violin
Hanne Helledie - piano

They will perform original compositions for violin &
piano by Hanne Helledie.

World Music meets Classical and Jazz.

FREE ADMISSION GLENDALE NOON CONCERTS
Every FIRST & THIRD Wednesday at 12:10- 12:40 pm

Artist website:
http://www.reverbnation.com/thehellediemooreduo

————–

RELAX DURING YOUR LUNCH HOUR WITH LIVE MUSIC
Light lunch created by ANGELA’S BISTRO available for $6.
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

*****************************************

UPCOMING CONCERTS in the same series:

(every FIRST & THIRD WEDNESDAY at 12:10-12:40 pm

FEBRUARY 17, 2010
Chamber music by composer BEVAN MANSON
Catherine Del Russo - oboe & English horn
Bevan Manson - piano

MARCH 3, 2010
Solo works for violin
HIROMI IGARASHI-WARREN - violin

MARCH 17, 2010
Singer-songwriter
LINDSAY TOMASIC
http://www.lindsaytomasic.com

APRIL 7, 2010
FIATO String Quartet

Carrie Kennedy - violin
Ina Veli - violin
Charles Hebenstreit - viola
Ryan Sweeney - violoncello

APRIL 21, 2010
SUEZENNE FORDHAM CHAMBER JAZZ LA
http://www.suezennefordhamchamberjazz.blogspot.com

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

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

UNTIL NEXT TIME,

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

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