TWO COLLEAGUES LOST / PENSION / EVENTS

August 25th, 2017

8/25/17

I. TWO COLLEAGUES LOST
II. PENSION COMMENTS
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. TWO COLLEAGUES LOST: A TOUGH WEEK

Colleagues,

This week saw the loss of two dear friends and colleagues:

1) Dell Hake, Composer/Arranger

Dell spent his college years at Drake in his home state of Iowa .
After receiving two degrees in music,  he joined the NORAD
military band where he met young musicians from LA
who became his life long friends .

Working in the music industry in LA, Dell’s professional career
spanned 45 years as a composer/orchestrator for live
performances, commercials, television and films.

The list includes, Ice Follies. Ice Capades, Holiday on Ice
Europe and Disney on Ice; Music for theme parks in
Singapore and the Lake District in Italy; Commercials
for Don Piestrup (Piece a Cake) and Brian Banks
(Ear To Ear); A series of films for Mark Isham;
Simpson’s television series for 24 years with his
good friend, Alf Clausen and countless smaller projects.

Dell also enjoyed teaching  the Spud Murphy
“EIS Horizontal Composition” course on Skype
to students here and abroad.  He was a devoted
student of Spud’s and helped him write the
Advanced Course.

He was on the board of ASMAC (American
Society of Music Arrangers and Composers) for 10 years.
Dell was respected by his peers for his work ethic
and for being master of his craft which included a
broad range of musical styles from Brahms to the
Keystone Cops.

He will be remembered for his wit and wisdom,
easy manner and his gentle spirit.

2) Maurice Grants, 1960 – 2017 cellist – Passed away the day
of the eclipse from complications of colon cancer. Please keep
Lynn and his family in your thoughts.

He was a world class cellist who worked on countless jobs of
all types for decades.

Friends and loved ones are welcome at the graveside service for
Maurice, which will be this coming Tuesday, August 29th, at 2
p.m., in the Morning Light section of Forest Lawn, Hollywood Hills.

The location is 6300 Forest Lawn Drive, Los Angeles CA 90068.
A memorial service will be held a a later date to be announced.

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

II. PENSION COMMENTS

“[EC: Our dues pay the salaries of the trustees,

they have no right to refuse answering reasonable

questions of their employers (us).
“Why haven’t these people been fired?]”
??? Trustees don’t receive any compensation as trustees.

What are you smoking?

[EC: Well at least we know they’re getting paid what they’re

worth! Fire them and get someone who knows what they’re

doing!}

——————————————-

those trustees just took an all -expenses- payed trip to Nashville
for a week. some of my friends who play in clubs in N’ville saw
them drinking like fish and eating huge meals, slappin each
other on the back about how they’re gonna fuck us, and then
going back to their expensive hotel rooms.

the only good thing about Ray is his hair. Nice and thick…

——————————————–

So you didn’t actually witness this. But your friends on their
gigs could recognize the trustees by face, were nearby enough
to clearly overhear dinner conversation in a music club,
and were able to track the alcohol consumption.

And you know, I assume, that the union-side trustees
are also all participants in the Plan, and that what
happens to the Fund affects their retirement, too –
in a big way? Every one of the union trustees have
a big stake in the outcome of this mess.

———————————

mostly they recognized the president of their local
and figured out the other guys were at the table with
him because they were in town for the pension meeting.
these musicians also record all the time, have an
enormous stake in the Pension, and are completely
wise to the whole deal that Ray and the Boyz are
pulling.

they work in clubs at night for the music. i guess,
Anonymass, that you never played in a club; otherwise
you’d know that one of the fun things to do there is
watch assholes eat too much, and count the
countless rounds of drinks they consume,
wondering how they’ll ever get home being that
loaded …didn’t you vote for Dump?

———————————————-

You’re right; I’m a show player.
So, exactly what is the “whole deal that Ray and
the Boyz are pulling?” The pension fund is in trouble,
but your comment implies that there’s some sort of
conspiracy. To accomplish what, exactly?
——————————
Who the hell are these arrogant fools who decide
who the “top musicians” are in Local 47? I have
worked here over 40 years now and on any given
recording job I did back in the 80’s and early 90’s
I have never recorded with anyone who is not a
“top musician”.

The facts are that yes, the players in the “nifty fifty”
are great but there are also GREAT players who
aren’t a part of this RMA so called “elite group”.

The most ridiculous thing is that often a composer
will ask for your name to be included in the orchestra
only to have certain contractors say that he/she
was called but “unavailable”.

———————————-

The Canadian stock market did not follow the US
market in 2006. Since the Canadian pension invests
primarily in Canadian companies, their investment
performance correlates more with the Canadian
market than the US market. I pointed this out to
MPS but have not seen a response.
Read the rest of this entry »

MEMBER COMMENTARY / PENSION / BMI FILING / EVENTS

August 17th, 2017

8/17/17

I. MEMBER COMMENTARY
II. AFM VS CANADIAN AFM PENSIONS
III. BMI FILING
IV. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

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

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

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

I. MEMBER COMMENTARY

Have you seen this?

The good old boys get together to promote what local 47
TOOK OVER AFTER an RMA Leader’s FAILED ATTEMPTS
YEARS AGO.

Now a certain leader of the RMA entering the picture again.
He is such a hypocrite in his comments as follows:

“If we can get the state to invest in those projects, we can be
competitive, and give composers access to the top musicians,”

RESPONSE: “TOP MUSICIANS”? What is a top musician?
News Flash: Not all excellent world class Los Angeles musicians
are RMA members. (the established RMALA line of doing business)

RMA provided Variety with a list of 2015 releases scored outside
the U.S., five of which were among the year’s 25 top-grossing films.
(“Avengers: Age of Ultron,” “The Martian,” “Mission: Impossible –
Rogue Nation,” “Mad Max: Fury Road” and “Kingsman:
The Secret Service”) that, had they been scored here, would
have generated wages and residuals totaling nearly $18 million
for the insiders.

RESPONSE: HAD THEY BEEN SCORED IN L.A. THE RMA LEADER
WOULD MAKE SURE THE $18 MILLION WOULD ONLY GO TO
THE SO-CALLED “TOP” MUSICIANS.

In any given year, according to Los Angeles RMA chapter
president Steve Dress, L.A. musicians earn an estimated
$10 million to $12 million in wages for movies, and passage
of this bill could bring in another $5 million annually.
“It would transform our community,” he says.

RESPONSE: FOR WHO? AND JUST HOW MANY DIFFERENT
INDIVIDUAL MUSICIANS WOULD BE HIRED??

It’s also in the indie arena where minority composers and
women composers are working more steadily, Acosta
points out. This could benefit them and promote diversity
in film music.

RESPONSE: Why doesn’t the RMA leader just say TOP
COMPOSERS. Yet he mentions minority composers and
woman composers making it a level field for composers
but not all musicians have the opportunity to be hired.

How about promoting DIVERSITY IN HIRING
PROFESSIONAL RECORDING MUSICIANS???

THE RAM LEADER, CONTRACTOR AND THE
BUNCH ARE JUST DROOLING TO GET THEIR
MITS ON THAT MONEY.

If the State of California passes this bill it
should include that not all the monies the State
of California receives can benefit only a
‘set group’ of musicians over and over again
controlled by the RMALA.

Disregard how many musicians wages received when
only ones hired are the protected RMALA gang each
time. Otherwise only a relative few musicians
would prosper. Game over, were back where we
started 30 years ago.

Musicians’ Union Backs Legislation to Return Scoring Jobs to L.A.

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

II. AFM VS CANADIAN AFM PENSIONS

Comparing the AFM’s Two Pension Funds:
Our AFM-EPF vs. Musicians’ Pension Fund of Canada

While researching the dramatic deterioration of our pension
fund, Musicians for Pension Security (MPS) continues to be
deeply troubled by how, compared to other pension funds
in our industry, ours is performing so poorly. Our trustees
cite declining demographics, unsatisfactory industry
dynamics and changing mortality tables. But a peer AFM
musicians’ pension fund, Musicians’ Pension Fund of
Canada (MPF Canada), is quite healthy, despite the fact
that it is subject to the exact same factors cited by
AFM-EPF trustees.

Just like our pension fund, MPF Canada contributions are
negotiated with employers by the AFM and written into
collective-bargaining agreements. So why are they over
100% funded (MPFC’s 2016 report), and we continue to
slide into deeper despair each year? Currently the AFM-
EPF is 69% funded.  (Annual Funding Notice) Is it possible
that the Canadian trustees are simply more competent
than our U.S. counterparts? The numbers speak for
themselves: MPF Canada’s investment performance is
far better than ours with 11.3% average returns over 5
years, vs. 6.9% for the AFM-EPF. In addition, MPF
Canada’s expenses are less than half of the AFM-EPF’s
with .62% of assets under management vs. 1.37%
for AFM-EPF. The Canadians are paying half as
much to generate twice the return of investment.
Looking back to a pivotal year for all funds, during the
financial crisis of 2008, the Canadians performed far
better than the AFM-EPF. Our plan lost 29.3% in the
single fiscal year ending March 31, 2009, while the
Canadian plan lost only 1.77% during the same period.

This raises the question – are there variables to explain
why MPF Canada has continually outperformed the
AFM-EPF, like benefit levels, mortality rates, retirement
age, demographics, or industry dynamics? In short, the
answer is no. The benefit multiplier* for MPF Canada
has been $3.25 since January ’11, while the benefit
multiplier of the AFM-EPF has been $1.00 since
January ’10. Additionally, demographics for the
Canadian plan face worse conditions: only 32% of
plan participants are active union members in
Canada, vs. 42% of AFM-EPF members in the
USA. Furthermore, employer contributions are
far less in the Canadian fund, and mortality rates
in Canada are less favorable financially to
beneficiaries because Canadians simply live longer than Americans.
It appears that the trustees’ judgment and experience
are significant determining factors between the two
funds. It’s clear that when compared to MPF Canada,
the AFM-EPF’s performance over the last decade has f
ailed. In fact, the Executive Director of MPF Canada
released a public statement distancing themselves
from the AFM-EPF’s performance (referring to
President Hair’s article in the May ’17 edition
International Musician), stating “this article is
not relevant to the Musicians’ Pension Fund of
Canada” (read Ms. Versteeg-Lytwyn’s full letter
here). The AFM really has two parallel pension
funds – one in the US, and the other in Canada.
They are operated similarly, face the same
declining demographics and other variables, but
still they produce completely different results.

Why? This is the question the AFM-EPF trustees
need to answer.

*In a defined pension plan the method for arriving
at guaranteed monthly benefits includes years of
service, average salary and a benefit multiplier.
The multiplier is applied to years of service and
the average salary to determine the size of the
benefit amount.

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

III. BMI FILING

Dear BMI Member,

As you know, BMI has been engaged in ongoing
litigation with the U.S. Department of Justice (DOJ)
over its interpretation of our consent decree. The
DOJ wanted to implement a 100% licensing model,
which BMI fought against in court last summer and
won. In a victory for the entire music industry, federal
Judge Louis Stanton ruled that BMI is free to continue
its longstanding practice of fractional licensing. The
DOJ appealed that decision, and as part of the ongoing
briefing process, today BMI filed its response.

You can read our brief here.

You’ll see that our brief focuses very specifically on the
language of BMI’s consent decree and whether or not
it allows for the practice of fractional licensing.  This is
because the language of our decree was the basis for
Judge Stanton’s favorable ruling and is our strongest
argument in this appeal.  We believe Judge Stanton
got it right, which is why we continue to vigorously
defend his position.

We expect the appeal process to continue into 2018
and we will, of course, keep you updated on next steps.

I realize that many of you may have questions about
100% vs fractional licensing and what this means for
all of you.  Please click here for an updated Q&A that
helps explain the issue and where we are in the process.

I’d also like to share the below statement that was
issued today to the press regarding BMI’s brief:

“BMI’s appeal argument is extremely simple in that it
comes down to the language of our decree.  As Judge
Stanton clearly stated, there is nothing in the BMI
decree that prevents us from engaging in the industry-
wide practice of fractional licensing.  What is not
simple, however, is the impact the DOJ’s interpretation
of our decree would have on the marketplace.  It would
stifle competition, hinder collaboration and unfairly benefit
music users at the expense of the American songwriter.
As always, we hope for the opportunity to sit down with
the new leadership of the DOJ to educate it about the
negative ripple effect its 100% licensing interpretation
would have on the entire music industry.”

Mike O’Neill
President & CEO
BMI

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

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
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

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

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

http://www.responsible47.com

———————————————

8/19/17

From Charlie Ferguson

This is to let you know that my sextet will be
performing at Bar Fedora in downtown Los Angeles
on Saturday, August 19, as part of Cathy Segal-Garcia’s
Saturday Night Jazz concert series. This venue (which
also hosts occasional concerts on Friday nights) has
recently celebrated their 100th concert since being
established in January 2016, and we are thrilled and
proud to be a part of it. This will be a fun program of
my arrangements of jazz standards and original
compositions. Details below:

Charlie Ferguson Sextet
performing live at
Bar Fedora (at Au Lac Restaurant)
710 W. 1st St. (corner of 1st and Hope,
across the street from Disney Hall)
Los Angeles, CA 90012

Saturday, August 19, 2017
7:30 – 11:00 PM (2 sets)
Tickets: $10-$30

Charlie Ferguson – piano
Gene Burkert – tenor and soprano sax
Ron Stout – trumpet and flugelhorn
Scott Whitfield – trombone
Chris Conner – bass
Bob Leatherbarrow – drums

——————————————–

8/19/17

AN EVENING WITH ALEX NESTER

Event to be held at the following time, date, and location:
Saturday, August 19, 2017 from 7:30 PM to 9:30 PM (PDT)

Sessions at the Loft
2465 Ventura Blvd
Camarillo, CA 91320

———————————————

8/22-29/17

RESERVE YOUR SEATS NOW
AUGUST 22nd, 25th, 27th, 29th
SEPTEMBER 9th, 11th, 12th
Each Evening at 7:30 pm
MALIBU COAST MUSIC
FESTIVAL 2017

Intimate Musical Soirees with
Old World Hospitality and Charm
Presenting Extraordinary Concert Artists
and Distinguished Speakers

Seven Evenings of World Class Music Making
Each Concert Featuring
Unique Programming & Artists

Tickets and reservations are available at
www.malibufriendsofmusic.org

RESERVE ONLINE
www.malibufriendsofmusic.org

PHONE RESERVATIONS:
(310) 589-0295

Featuring Festival Artists from
Across the Nation and the World
Performing Exceptional Works of
Antonin Dvorak, John Corigliano
W.A. Mozart, Antonio Vivaldi
Alberto Ginastera, Alfred Newman
Frederick Chopin, Astor Piazzolla,
Maria Newman, Scott Joplin,
Randy Newman, William Bolcom,
George Gershwin

FESTIVAL PROGRAMS

Tuesday, August 22nd at 7:30 pm
MONTGOMERY ARTS HOUSE FOR
MUSIC AND ARCHOTECTURE
MAHMA Great Room
“CHAMPAGNE GALA OPENING CONCERT”

Friday, August 25th at 7:30 pm
MONTGOMERY ARTS HOUSE FOR
MUSIC AND ARCHITECTURE
MAHMA Great Room
“FRIDAY FOLKLORE & ANCIENT ANTIPHONS”

Sunday, August 27th at 7:30 pm
MONTGOMERY ARTS HOUSE FOR
MUSIC AND ARCHITECTURE
MAHMA Great Room
“MARVELOUS MOZART, TANTALIZING
TANGO, AND A TRAVELING SALESWOMAN”

Tuesday, August 29th at 7:30 pm
MONTGOMERY ARTS HOUSE FOR
MUSIC AND ARCHITECTURE
MAHMA Great Room
“WONDERFUL AND WILDE”

Saturday, September 9th at 7:30 pm
MONTGOMERY ARTS HOUSE FOR
MUSIC AND ARCHITECTURE
MAHMA Great Room
“SONGS FOR SOLDIERS”

Monday, September 11 at 7:30 pm
MONTGOMERY ARTS HOUSE FOR
MUSIC AND ARCHITECTURE
MAHMA Great Room
“IN REMEMBRANCE”

Tuesday, September 12th at 7:30 pm
MONTGOMERY ARTS HOUSE FOR
MUSIC AND ARCHITECTURE
MAHMA Great Room
“FANTASTIC FESTIVAL FINALE”

MCMF 2017 Festival Artists:
Nicholas Goluses, classic guitarist
Miko Kominami, pianist
Eric Kutz, cellist
Paula Hochhaler, cellist
Hal Ott, flutist
Christina Borgioli, soprano
Nandani Maria Sinha, mezzo soprano
Diana Tash, mezzo soprano
Wendy Prober, pianist
Maria Newman, Composer-in-Residence
and violinist
Scott Hosfeld, Music Director/Conductor
and violist
Malibu Coast String Quartet
Members of the
Malibu Coast Silent Film Orchestra

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

———————————————

Wu Nation,

We will be appearing at Rusty’s Surf Ranch on Saturday,
August 26th 2017, starting at 10:00 pm and will play two
sets of your favorite Steely Dan tunes!  We want this to
be a fun evening for all, so please bring your friends
along and enjoy a great time with us.

The line up for this show will be:

Tony Egan: Lead Vocals
Leigh DeMarche: Vocals
Jodi Fodor: Vocals
Gil Ayan: Guitar
Steve Bias: Bass and Vocals
Roch Bordenave: Trombone
Jeff Dellisanti: Saxophones
Mark Harrison: Keyboards
Frank Villafranca: Saxophones
Kurt Walther: Drums

Rusty’s Surf Ranch
256 Santa Monica Pier
Santa Monica, CA 90401
(310) 393-7437
http://www.rustyssurfranch.com/

We look forward to seeing you there!
The Doctor Wu Band
http://www.doctorwuband.com/
https://www.facebook.com/doctorwuband

—————————————————

8/27/17

SUNDAY’S LIVE with Susan Greenberg
and friends.

Hi. Please join us for a free chamber
music concert at

LACMA Sunday August 27, 2017 6 pm.
Put it in your calendars!  Susan

Sundays Live Concert Sunday August 27, 2017   6 pm  FREE
Los Angeles County Museum of Art  Bing Auditorium

Susan Greenberg, flute
Pasha Tseitlin, violin
Tim Richardson, viola
Judith Farmer, bassoon
Nic Gerpe, piano

Trio Sonata in b Minor for flute,
bassoon and piano…………….Jean-Baptist
Loeillet  (1680-1730)
Largo
Allegro
Adagio
Allegro con Spirto

Serenade in D Major, op. 141a for flute,
violin and viola……..Max Reger (1873-1916)
Vivace
Larghetto
Presto

Ghost Train for flute, bassoon and piano
……………Gernot Wolfgang  (1957-)

Sonata for flute, violin and piano
……Nino Rota (1911-1979)
Allegro Ma Non Troppo
Andante Sostenuto
Allegro

Concerto for 2 violins, flute, bassoon
and piano………………..
Antonio Vivaldi (1678-1741)
Allegro
Largo
Presto

—————————–

8/27/1

CENTERSTAGE OPERA
Café della Vita in West Hills hosts our next Musical
Dinner August 27th!
Opera, Broadway, jazz standards and soft rock sung
by CSO Artistic Directors Shira Renee Thomas,
Dylan F.Thomas and friends

Choose from 3 delicious entree choices:
grilled salmon
chicken marsala or
lasagna (meat or vegetarian).
The entire evening, including full-course
meal and entertainment, is just $55
which includes tax and tip (wine available
at additional charge).

Reservations are required & limited, so act now.

call 818-517-4102

Café della Vita
23759 Roscoe Blvd., West Hills

—————————–

9/6/17

Free Admission GLENDALE NOON CONCERTS

Wed SEPTEMBER 6, 2017 at 12:10-12:40 pm

ARIOSO DUO: Flutist Cynthia Ellis & Harpist Michelle Temple
play Elgar, Nielsen, Mouquet and Damase.
Thank you!

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

PENSION MYTHS / ASSESSMENT / MPS FUNDRAISER / EVENTS

August 11th, 2017

8/11/17

I.  PENSION MYTHS and FACTS
II. NEW PENSION FUND ASSESSMENT
III. MPS FUNDRAISER UPDATE
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. PENSION MYTHS AND FACTS

FACTS, NOT MYTHS
MPS responds to President Ray Hair’s July 2017 International
Musician article

Dear Plan Participants,
Ray Hair attempts to “bust the myths” related to our pension
fund’s crisis in this month’s International Musician, which
was copied verbatim from the AFM-EPF June newsletter
(that message can be found here and here). President
Hair’s message actually raises more questions than it
answers.

President Hair’s Myth #1:
The Fund is not critical and

declining so we’re “safe.”

MPS Question #1: Why the dramatic deterioration in the past
12 months? President Hair states that avoiding critical and
declining status this year doesn’t mean that our fund is
healthy. We agree with that. But he doesn’t address the
key issue.

The recent Annual Funding Notice shows the funded
percentage of our plan (view here) has declined from
81.6% to 69% in just one year. That is a decrease of
12.6 points, which is our largest decrease since the
financial crisis of 2008-9 (funded percentages since
2009 are 75%, 94.5%, 91.8%, 88.5%, 86.9%, 85.6%,
and 81.6%.). So while that percentage has been
trending down moderately, this past year it took a
dramatic fall. Why? President Hair does not say.

————-
President Hair’s Myth #2: 
The Keep Our Pension

Promises Act (KOPPA)
proposed by Senator Bernie Sanders is good
for participants.

MPS Question #2: Why is President Hair so
enamored with a law that numerous
Senators and Congressmen want repealed
or revised (read about MPRA)?

Mr. Hair asserts that he met with staffers of
Democratic senators in Washington, D.C., on
June 6, and discovered that with the current
Republican senate in place, KOPPA would likely
not be enacted into law. If this was news to Mr.
Hair and Mr. Gagliardi at their meeting, it certainly
isn’t to anyone else. MPS stated back in May that
it is unlikely this legislation would be passed in
today’s current political climate, but it could be
passed after the 2018 and 2020 elections. It also
shouldn’t stop our trustees from seeking
improvements to already existing laws, or lobby
for a new piece of legislation altogether that
would be better suited to the needs of all plan
participants.

Mr. Hair and our trustees only seem interested
in one piece of legislation: the Multiemployer
Pension Reform Act of 2014 (MPRA), which
allows the trustees of financially-troubled multi
employer pension plans to apply to the US
Treasury for reduced benefits to retirees and
their widows/widowers. Numerous senators
and congressmen on both sides of the aisle
have expressed extreme dissatisfaction with
MPRA. In fact, a number of them have stated
that they want it substantially revised, or repealed
altogether. Several Republican senators have
joined with Senator Rob Portman, R-Ohio, to
revise MPRA (Pension Accountability Act).

Portman’s proposal would disallow any benefit
cuts without a majority of the votes cast by the
plan participants. Despite these proposals for
substantial revision to MPRA, our trustees
have not engaged with these efforts, choosing
to enforce MPRA as written, allowing benefit
cuts over the objections of plan participants.
Regarding the possibility of our plan falling
into MPRA in the next year or two, President
Hair has clearly overlooked one very important
scenario – in the event that MPRA is revised to
benefit the plan participants after the 2018 or
2020 elections, those who already had cuts
enacted may very well be denied the new
favorable benefits of the revised law.

It has become clear over the past several months
that the trustees view MPRA as the only legislative
tool in their toolbox. A question MPS still wants
answered is whether the trustees used plan money
to help draft and lobby for the passage of MPRA in
2014. We asked the trustees this question in our
information request last month (read here), and
they refused to answer.

————————
President Hair’s Myth #3: The plan lost 40% in
investment returns when other plans lost 25%.

MPS Question #3: Why won’t the trustees answer
our questions regarding the losses of 2008-9?

Mr. Hair would like us to know that the plan lost 29%
in investment returns for the 12 months ending
March 31, 2009, not 40% as some have alleged.
There have been numerous conflicting communications
from the trustees on this subject. MPS formally
requested detailed information regarding the Fund’s
realized losses in 2008-09 (read items 6-8), but the
trustees refused to answer those questions.

Executive Director, Maureen Kilkelly, informed us
that they would provide only the documents required
by law, and that they “… are not responding to
the remaining requests.* ”

MPS also asked the trustees for detailed information
regarding the performance of the alternative investment
portfolio. It’s clear that the trustees have revised their
investment strategy since 2014, and shifted to a more
aggressive investment mix. Currently, approximately
32% of plan assets are allocated to alternative
investments, including private equity. Our questions
regarding the private equity portfolio, including the
nature of the fees and investment returns, were not
answered by the trustees.

We also asked whether they received any legal
advice that the plan had a viable lawsuit against
any of its investment advisors for the poor performance
during not only in the 2008 financial crisis, but also
the past 10 years – a lost decade from an investment
point of view. The trustees refused to answer us on
this critical point as well.

——————————

President Hair’s Myth #4: The Fund office received
huge staff pay increases in 2009.

MPS Question #4: Why won’t the trustees answer
our questions about expenses?

President Hair indicates that plan participants
misunderstand why expenses seem to have gone
up abruptly in 2009, and continued to increase since.
It is precisely this reason that MPS asked
numerous questions regarding expenses
(see items 11-16). The trustees refused all
requests. We again ask that the trustees
respond fully to our information request so
we may understand exactly what went wrong
with our fund, and what can be done in the
future to repair it.

President Hair, who has been the AFM trustee
co-chair since 2010, isn’t busting any myths –
he is using carefully curated facts in order to
make his case. When asked questions that
are uncomfortable or inconvenient, AFM-EPF
refuses to answer.

This is not transparency.

President Hair focuses on “busting myths”
because he and the other trustees choose to
dodge the facts – over the past decade, our
fund has endured poor performance with an
average 3.2% return net of investment fees,
spent $250 million in fees, and left us with
serious questions about how our plan money
has been spent. One thing is obviously missing
when it comes to the communications from Mr.
Hair and the other trustees ­­­– what is the
trustees’ strategic long-term plan moving forward
to deal with the continual problems at the AFM-EPF?

President Hair, is the plan to fix the AFM-EPF
fund a myth as well?

Sincerely,
Musicians for Pension Security, Inc.
*Ms. Kilkelly included a disclaimer on her
email that prevents us from sharing it publicly.

[EC: Our dues pay the salaries of the trustees,
they have no right to refuse answering reasonable
questions of their employers (us).

Why haven’t these people been fired?]

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

II. NEW PENSION FUND ASSESSMENT

This is as good an analysis as I’ve seen or our AFM

pension situation.

“The AFM Pension Crisis – A View from the Membership”.
Three months in preparation, this paper has received

endorsements from two of the leading authorities on

pension finance in the U.S.:

http://www.AFMPensionPerspectives.com

Here’s the intro:

We are long-time AFM members with an interest

and background in finance and math. Our only agenda

is to try to bring our pension fund back to a usable

state for all members, of all generations. We are

concerned that if the Fund continues in its

present course, those of you who are now fifty

may receive only a few years of a (possibly

reduced) pension. If you are forty-five or

younger you may receive nothing at all.

This is not inevitable and we think there

is a good chance our fund can be saved. To

do this, we think it’s important to understand

how pension funds work. If you are allergic

to numbers or finance, but have had a savings

account or taken out a loan, you will be able to

understand the basics of a pension plan. There

are many different versions of how we got into

this mess. In particular, we find the Trustees’

version inexplicably incomplete. Our version

has the advantage of being consistent with the

views of pension experts and unfolds naturally

as we explain how pensions work in Part 1.

Since our story differs from the Trustees version in
numerous ways, we realize it might be controversial.
To remove any doubt you may have that our comments
are within the mainstream of financial thought and not
some crazy theory, we invited the highly respected
pension authorities M. Barton Waring and Ronald J.
Ryan to review our work. Their complete comments
to us follow this introduction. We are grateful for
their time and efforts.

Talking about things without knowing much about
them is a good way to generate a lot of heat without
generating any illumination. We think there’s been
a lot of that going on and we hope this will help fix that.
Along the way, we also talk about ways to evaluate
pension fund investment performance, the serious
issue of our shrinking pension ’nest-egg’, and some
possible ways that we can all work together to fix
the fund.

Moving forward looks like it will require the efforts
of many members. If you are a member of an
orchestra committee or other influential group,
we hope you will try to do something to get your
colleagues to help bring our pension back to a
healthy status. We advise you not to wait for an
initiative from the AFM, which may or may not arrive.

You can fix a copy of this document in PDF
format or HTML, along with other pension
articles of interest on our website:
AFM Pension Perspectives.

While we wrote this for our colleagues in the
AFM, what you are about to read applies to
every defined-benefit plan in America, both public
and all favors of private. The magnitude of the problem
is currently measured in the trillions of dollars and
climbing. As a result, not only do we hope you find
this document useful, we hope you will share it. And
we hope you will share it not only with your fellow
AFM members, but with anyone who is a participant
in a defined-benefit pension plan.
In Solidarity,
Scott & Tom
NYC & LA
August 8, 2017

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

III. MPS FUNDRAISER UPDATE
75% of our goal reached in 2 weeks!

Dear Plan Participants

The MPS fundraising campaign is off to a great start! Thanks to
the generosity of plan participants across the country, we have hit
the 75% mark of our total fundraising goal. As of today we need
less than $3,900 to reach our fundraising goal of $15,000.

Please help us by clicking here.

With these funds, we have already taken two huge steps toward
protecting our fund:
1    1. Actuarial, financial, and investment documents have
2    been purchased from the AFM-EPF.
3    2. The services of Tom Lowman, FSA, of the highly-accredited
4    actuarial firm Bolton Partners, Inc., have been retained to
5    analyze the plan documents and provide a clear independent
6    actuarial analysis of the AFM-EPF.

If this email was forwarded to you, and you are reading about
Musicians for Pension Security (MPS) for the first time, please

share it with all you know!

Read the rest of this entry »

LOCAL REACHES NEW LOW / MPS RESPONDS / HELP THE MPS / COMMENTS / EVENTS

August 4th, 2017

8/4/17

I. LOCAL REACHES NEW LOW AGAINST RANK AND FILE
II. MUSICIANS FOR PENSION SECURITY RESPOND

III. HELP THE MUSICIANS FOR PENSION SECURITY
IV. MEMBER COMMENTS
V. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

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

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

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

I. LOCAL REACHES NEW LOW AGAINST RANK AND FILE

We’ve received several reports that at a recent non-union
recording session, a recently fired high up employee was
found lurking in the bushes, taking pictures of members
entering the studio.

All those identified were charged $500 for trying to feed their
families, with no union work to be had.

BUT WAIT,

The Local decided to hold the $500 charge over their heads,
telling them that it will not be pressed UNLESS they are
caught again.

So, the Local is now targeting rank and file for trying to pay
their bills, unless you’re in the upper echelon of course, and
threatening them with further targeting.

If the Local spent half the time and effort they spend
on targeting rank and file members trying to create
world competitive contracts  much of the nonunion
work would be unnecessary.

As long as the RMA runs things, that won’t happen.

Many RMA members do the nonunion work at the same
rate as the rank and file, but because of their positions
never face the targeting.

Corruption is as corruption does.

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

II. MUSICIANS FOR PENSION SECURITY RESPOND.

Musicians for Pension Security respond to the lawsuit
filed against the AFM-EPF trustees and Fund Administrator
Dear Plan Participants,

A class action lawsuit was recently filed against the trustees of the AFM-
EPF. The central allegation is that Fund trustees failed to properly oversee
the investment functions of our plan. In particular, it claims they directed
too much plan money into emerging market stocks, and as a result, the
investment returns were lower than if they were invested in US stocks.

Musicians for Pension Security did not file this lawsuit.

It was initiated by two AFM-EPF members who are not affiliated with
our organization. MPS applauds any effort to hold plan trustees
accountable for their performance and transparency failures.
However, the litigation process could take years to unfold, and
during this time the trustees will be deciding the fate of our plan.
In the next few years, they will determine if the plan will move into
critical and declining status, and whether or not to file an application
to the US Treasury for cuts to our pension benefits. We cannot
let the lawsuit distract us from the key task of protecting our
pension benefits.

MPS believes that the lawsuit, if successful, would only recover
approximately 1% of plan assets. In all likelihood our trustees
have an insurance policy insulating them from possible litigation,
and in general, these policies provide somewhere between
$20-$40 million of protection. After deducting attorneys’ fees,
we believe that at most only approximately $20 million could
be recovered. This equates to less than 1% of plan assets,
or about $400 per participant.

While holding AFM-EPF trustees accountable is laudable,
MPS remains focused on how plan participants can have a
greater influence right now. We have retained our own
independent actuary to provide a second opinion concerning
the finances of our fund. MPS will continue to engage with
policymakers in Washington to find solutions in plan
participants’ best interests. Through grassroots efforts,
we can unite and work together to protect the pension
benefits of all plan participants.

Sincerely,
Musicians for Pension Security
Adam Krauthamer
Marilyn Coyne
Jon Kantor
Anja Wood
Pete Donovan
Elise Frawley
Sylvia D’Avanzo and
Carol Zeavin

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

III. HELP THE MUSICIANS FOR PENSION SECURITY

Dear Plan Participants,
Musicians For Pension Security, Inc. (MPS), is a nonprofit
group managed and supported by AFM union members
across the country who are deeply concerned with the
current state of our AFM-EPF Pension Plan. Our purpose
is to fully understand how our plan became so troubled,
and to hold our trustees and their advisers fully
accountable. Further, we demand more transparency
from our trustees and to seek solutions to our current
dilemma other than cutting our hard-earned pension
benefits.

MPS believes that without plan participants’ active
involvement, the trustees of AFM-EPF Plan will most
likely move to cut our pension benefits within the
next few years. Therefore, this year will be pivotal
in our fight for pension security, and we at MPS are
planning a number of initiatives to support YOU,
the plan participant.

To do this, we will need your financial support. We
ask that you join us and please donate! Your
contribution is critical in helping us work toward a
sustainable, long-term plan for pension security,
and enables us to continue fighting on behalf of
all AFM-EPF plan participants. Right now, we
have launched an important fundraising campaign,
and need to raise $15K by September.

Read more about that here.

To donate:
http://tinyurl.com/ybbeo3am

Please help spread the word!

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

IV. MEMBER COMMENTS

Latest email blast from the RMALA gives a “thank you”
for Gordon Grayson’s “straight shooting” service and
wishes him the best in his future endeavors.

HE WAS FIRED FOR DOING THEIR DIRTY WORK….BADLY!
We are surprised that they would so openly flaunt
their connection with Gordon.

[EC: We’ve never recall the RMA thanking any mere employee
in a blast individually in public after leaving the local’s employ,
particularly if they were fired.
Not Barbara Markay, nor Serena Williams, nor Dave Schubach,
nor Hal Espinosa, nor Vince Trombetta, nor Doug Caine, nor
Amie Moore, nor Jeff Surga… We could be wrong, but we doubt it.

Now we know why.

We heard the same, the fired employee would target whomever
The RMA leadership wanted. Explains a lot really. We can’t help
but wonder if a local officer knew about it,… or helped direct it.

More on this soon.]

————

the name of the gentleman in charge of the Musicians for
Pension Security group is Adam Krauthamer, his phone
# is 215 280 5958, and he would like to hear from any
Local 47 pensioners who do NOT want their monthly
pension checks cut. glad i’m over 80 so they cannot
cut mine.

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

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
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

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

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

http://www.responsible47.com

—————————————-

8/6/16

Dearest Friends of Music and the Arts –

Please join us for a very special concert entitled,
“French Color: Debussy and Ravel”
Sunday, August 6, 2017 – 7:30 PM at
COLLIER HOUSE – Woodland Hills.

The program will celebrate two masters of
French musical impressionism, Claude Debussy
and Maurice Ravel.

Through solo piano, accompanied voice, and
ensemble pieces, you’ll experience the
mesmerizing color and precise musical
invention of these two great composers.

The Malibu Coast String Quartet
(Maria Newman & Rafael Rishik, violinists;
Scott Hosfeld, violist; and
Paula Hochhalter, cellist)

will join rising stars bass-baritone
Matthew Lewis, and pianist
Jiye Hayden, in an exquisite evening
of color and grace.

Doors open at 7:00 pm ~ Refreshments will be served
Concert begins at 7:30 pm

TICKETS: $25 Buy Now / $30 At The Door / Under 18 Free
Make Your Reservation ~ (818) 304 – 4020
PROGRAM: (approx. 1.5 hours)
Debussy  ~ Music for Solo Piano: Clair de Lune & Arabesque #1
Debussy ~ French Songs: Romance & Les Cloches
Ravel ~ French Songs: Sainte & Five Greek Songs
Ravel ~ String Quartet in F Major
Ravel ~ Piece en forme de Habanera
Faure ~ Apres un reve
Maria Newman ~ Le petit duel
QUESTIONS?
Please contact Collier House/Paula Hochhalter at (818) 304 – 4020

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

MEETING MINUTES / AFM PENSION MISMANAGEMENT LAWSUIT / EVENTS

July 26th, 2017

7/28/17

I. MINUTES OF LAST MEETING (FIRST QUORUM IN 16 MONTHS)

II. LAWSUIT CLAIMS AFM PENSION MISMANAGEMENT

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. UNION MEETING MINUTES MONDAY,  JULY 24TH.

Union meeting Monday – July 24th

For the first time in 16 months the meeting reached a quorum.

Quorum was met at 7:41, surprising for a July meeting.
A vast majority (but not all) were invested either as board or
committee members.

President Acosta talked about building plans and
plans for the union.

The Strategic Planning Committee
John Acosta, President
Rick Baptist, VP
Gary Lasley, Secretary
Booker White, Rank and File Rep – Disney Copyist
David Wheatley, Rank and File Rep
Lydia Reichenbach, Rank and File Rep
Steve Dress, (Acosta listed him as Rank and File Rep,

not bothering to point out that he is also president of

the RMALA.)

Jefferson Kemper, Local 47 organizing coordinator

Their Priorities
DEVELOP EMPLOYMENT
-Generate union work oppor. /Increase Union Density

(composers, Contractors, Producers, Music -Coordinators

Agents

-Tax Credits for recording
-Improved contracts
-Interactive
-1-hour independent film Festival Call
-Benefits only jobs.
Employer Outreach and Education

PROVIDE MEMBERSHIP SERVICES AND BENEFITS
-Online Resources
-Contract Access
-Healthcare
-Pension
-Responsiveness / Efficiency
-Tech

ENGAGE AND EDUCATE MEMBERS
-Survey Memberships to join u
-Create reasons to join union
-New Building Launch
-Perf Space
-New Member Showcase

GETTING MEMBERS TO COME BACK
-New Member Training
-Masterclasses
-Establish Brand
-Foster Volunteerism
-Increase Responsiveness

BUILD / REBUILD ALLIANCES RELATIONSHIPS
-elected officials
-Labor Union
-Personal Outreach
-Educational Institutions
-Community
-Employers
-Alliance of Woman Film Composers
-Composers Caucus

BE POLITICALLY ACTIVE – LAWS PASSED
-Tax Credits
-National Right to work
-ACA / CHC affordable health care
-Musicians pol Action committee
-Encourage Activism
-Support Volunterism

CONTRIBUTE TO COMMUNITY
-Relief Fund
-Musicians Foundation
-Music ED
-Promote Member contributions
-Encourage Volunteerism
-Guidelines for Donating Musical Services.

PRIORITIZE PRIORITIES
-Craft a positive and dynamic Local 47
Mission Statement that aligns with priorities
-1,3, 5 year plan
-Establish Goals for each strategy
-Present it to the members
-Ratify Strategic Plan
-Form Committees to achieve goals.

Various questions from various people.

Members need to get word out to the public and decision makers.

RMA leaders took over meeting for 10 minutes,

until Pres. Acosta said “Thank you”
Their Leaders blew a lot of smoke talking about how
Tax incentives will a bring a lot of work back.
It’s the BACKEND! Everyone knows this.

Members Asked about benefit only projects – Charities,
to enable folks to play for those events. Only charities

mentioned. Pres. – Tough to allow, but need strict requirements.

Comm. Member – to reach a goal you have to know how
you’re going to get there.

Comm. Member – Plan is for the membership.
Need to support the leaders.

Chair makes motion to adopt the plan:
Plan is adopted  – that will do nothing to fix the situation
without taking on the backend.

PRESIDENT REPORT

Lots about the move to Burbank.
3220 Wiwona – are in the back
in two modular buildings.

In Phase I –  all offices, afm offices, rehearsal rooms – Sept 8th.
Building  – 5.5 million budget – says it’s all union labor.
Phase II – Exterior painting – Over 1 MILLION Budget for Phase II
Building cost 13 million.
So total spent is over 18 million. With the total sales of the
building coming to approx – 24 million.

That leaves about 4.5 million

Investment monies left over: $4.5 million left over.

When did the board decide to change the terms.

We were told it would be 10-12 million left over

for investment, now we hear it’s going to be 4.5

million.

[Recap: initial building was going to cost $10,000,000,

plus three businesses to cover the property taxes of

approx. $120,000. The sale was approved on these

terms.

Then, lost that building, wound up paying 13 million

for a building with NO businesses to cover property

taxes. Pig in a poke?]

We believe that money will be gone in less than 5 years,
UNLESS backend payments are reduced or illuminated.

SAG/AFTRA CREDIT UNION now combined with
Local 47 Credit Union.

Will be vending area / Musicians Lounge.
Will be an elevator.
3 big band rooms.

LA Phil, LA Opera, New West, Angelica, San Bernadino,
Pasadena Sym, nego., Dance at the music center, Riverside
ongoing, plus others.

Legal: Prevailed against Magic Castle,.. mostly. Lost on

shift changes

Instrumental Casting – Trashed that group. Discussed

nonunion

gig at Hollywood venue. Charges were filed.
Union protestors were almost arrested at (Instrumental

Casting) protest.

Wordless music, planned non-union job music to film –

filed charges. (More jobs lost to professional musicians

only trying to pay their bills)

Union screws the rank and file again who aren’t the

privileged.

Organizing: Discussed plans.

[EC: Why do these folks keep talking about TAX

Credits as though that will make any difference

at all except for the have’s.

We all know why, don’t we.]

OCTOBER 7th – Will honor Lalo Schifrin to raise

money for the music fund.

VP REPORT
-Oct 16th – golf tournament to benefit music fund.

I’m the chair.
-Going to Central Avenue Jazz Festival will be

honoring Clora Bryant on Saturday.
-Going to NY to nego, live TV contract.
-Went to Cabrillo Music Festival to see Peter

Pan. Dan Redfeld conducted.

Archive: is in storage – 74 Three drawer filing

cabinets of old contracts. Rehearsal rooms –

Talked to groups that rehearse – starting on

Sept 14th: 13 piano, 7 sets, 6 Timp, Will have

mikes and speakers. Can room be rented for

recitals? – Yes, to a degree.

SECRETARY:
General fund: 1st quarter
Revenue $1,643,291
Expenses $1,105,038
Over 500,000 in profit.

Overture is printed 4 times a year, but everyone

month electronically.

Can download app. For your phone.

Music Club
Rev 81,782
Exp. 1150.995
$69,215 dollars in the red

Final sale of building. 24,750,000
Cost of New building 13,431.98
Over $500,000 paid by Music Club

to settle bills.

$43,000 plus for legal
$175,000 lease back
$1,392,751 to renovations
$1,880 for utilities
$3,933 – accounting
$1,280 on elevator repair
$5,074 insurance
$6,464 dollars on office furniture.

Over 5 million put with Merrill Lynch.
$2,400.000 in fixed income
$2,100,000 equities

Investment policy:
First priority: Preserve principal
55% bonds-fixed income / 45% in stocks and mutual.

OLD BUSINESS

Member asked:
April 24 there was no quorum – was the resolution

passed? Was amended version Published?
[Yes]
Did Amended version go through the legislative

process?
A replacement amendment was published.
If so, you cannot amend an outstanding motion.
Parliamentarian: Process at meeting was followed

as per bylaws and Robert Rules of Order.’
[We don’t think they followed proper procedure,

hoping no one would press it.]

NEW BUSINESS

President Acosta Announced: Isabel Baskoff

passed, service Friday at 10 am.

Adjourned 9:30 PM

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

II. LAWSUIT CLAIMS MISMANAGEMENT OF MUSICIANS

UNION’S TROUBLED PENSION PLAN
David Robb  July 24, 2017 5:09pm – DEADLINE HOLLYWOOD

UPDATED with statement from the plan’s executive director:

The American Federation of Musicians’ beleaguered $2

billion pension plan, which had a $122 million shortfall

last year, has been hit with a class-action lawsuit that

claims its trustees have made a series of risky

investments that have endangered the pensions of

thousands of musicians. The suit, filed in the U.S.

District Court in Manhattan, seeks the appointment

of an independent fiduciary to administer the plan

and the management of its investments.

Like many multi-employer pension plans, the

AFM plan was hit hard by the recession and

market downturn of 2008. But the musicians’

plan was hit harder than most, losing 40% of

its value in 18 months. A lawsuit filed by musicians

Andrew Snitzer and Paul Livant in New York

District Court claims that the plan’s trustees

and investment committee tried to make up

for this staggering loss by investing in

questionable stocks.

REX/Shutterstock
“With the fund in critical status resulting from

bad investment decisions,” the 66-page suit

claims (read it here), “defendants chased

recovery of lost investment returns by repeatedly

gambling on the hope of high investment returns

from the highest risk asset classes, in breach of

their fiduciary duties under the Employee

Retirement Income Security Act. Defendants

failed to prudently invest hundreds of millions

of dollars of fund assets and monitor and manage

risk tolerance and exposure in the stressed financial

circumstances facing the fund.”

Maureen Kilkelly, executive director of the pension

plan, called the suit “entirely without merit,” saying

that the board of trustees and staff of the fund “have

always taken our fiduciary responsibilities very

seriously. Every step of the way, we have consulted

with respected and experienced investment experts

in the industry, closely reviewed investment options,

and always acted in the best interests of the fund’s

nearly 50,000 participants and beneficiaries.”

According to the lawsuit, “Defendants invested

approximately $243.5 million of the fund’s assets

over the period since 2010 in high-risk, high-cost

international emerging markets equities, gambling

on outsized growth in international emerging markets’

economies and coincident investment returns consistent

with returns in the previous decade. Defendants further

gambled on the investment managers they hired to

outguess the market and produce better returns for

their excessively high costs and fees. As the investment

lost market value, defendants chased recovery of the

lost returns with further fund assets. Defendants

knew, or should have known, this continuing and

increasingly risky gamble exposed the fund to

imprudent and excessive risk when the fund’s

returns were vital to recovery.”

The suit claims that the trustees tried to recoup

losses by investing ever greater percentages of

the fund’s assets in risky emerging markets

equities. “Defendants knew the average pension

plan had 4.5% of total assets invested in emerging

markets equities,” it alleges. “Defendants approved

a policy to invest up to 5% of total Fund assets in

emerging markets equities, and then, following

negative returns, more than doubled the high

risk investment to 11%, only to again double-down

and increase the fund’s investment to an extra-

ordinary 15% of fund assets. Defendants’ process

of chasing recovery of lost returns with increasingly

risky asset allocations, in an attempt to meet or

beat the actuarial return assumption, was imprudent

and resulted in substantial injury to the fund. Like a

gambler chasing his losses, defendants did so

despite the high-risk nature of the asset class,

substantial and continuing declines in the market

value of the investment, increased uncertainty

concerning volatility and growth prospects in

emerging markets, substantial underperformance

by the managers, substantial underperformance

of the fund versus its peers, and the mounting

substantially negative impact of the investment

on the fund’s returns.”
In December, the trustees told participants that

the fund “has now been in critical status for six

years and is projected to remain so for the

foreseeable future…We currently have a plan

that incorporates reasonable measures available

under the law to address our situation. At this

time, we are reliant on the fund’s investment

performance and to a much lesser extent

employer contributions.”

In her statement to Deadline, the plan’s exec

director Kilkelly said the suit “is directed at

the performance of fund investments, but

there are many other causes of the fund’s

present financial predicament. Many

multiemployer pension plans across the

nation are struggling with a similar ‘perfect

storm’ of challenging factors.

These include the volume of Baby Boomers

taking retirement; more benefits being paid

out to retirees and beneficiaries than

contributions coming in from actives;

and significantly longer pay-outs because

participants are thankfully living longer.

Additionally, two major recessions since 2000,

the one in 2008-09 being of epic proportions

and causing the collapse of financial markets

worldwide, have profoundly impacted pension

plans across the nation.”

She said that she and the trustees and the

staff of the fund “have responded prudently

to all challenges and have consistently based

their decisions on the counsel of proven

investment advisors and actuaries. We will

vigorously contest this lawsuit, and expect

to prevail. Our focus will continue to be

on doing everything we can to preserve the

hard-earned benefits of our participants

and beneficiaries.”

FROM DEADLINE HOLLYWOOD

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

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
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

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

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

http://www.responsible47.com

—————————————-

7/29/17

SESSIONS AT THE LOFT

ASHLEY BRODER AND FRIENDS

Event to be held at the following time, date, and location:
Saturday, July 29, 2017 from 7:30 PM to 9:30 PM (PDT)
Sessions at the Loft
2465 Ventura Blvd
Camarillo, CA 91320

———————————–

7/30/17

The BBB featuring Bernie Dresel
(Direct from Italy!)

THIS SUNDAY July 30 from  7:00pm-8:30pm
at Bogies in Westlake Village, CA
(right off the 101 at Lindero Canyon Road exit.)
Big Band Extravaganza!!!
32001 Agoura Road, Westlake Village, CA 91361
Call 818-889-2394 for ticket reservations!!
or Go to: http://www.bogies-bar.com/events/
and click on the RSVP tab for our July 30 show.
or cross your fingers and JUST SHOW UP!
$20 cover charge

Come join The BBB featuring Bernie Dresel,
(13 horns, upright bass, guitar, and plenty of

drums) swingin’ & rockin’ selections from our

brand new album, Live n’ Bernin’.

The club is gorgeous, the food is great, and

the sound system is perfect!  Come welcome

me & Vicky as we arrive back to Los Angeles

from our beautiful honeymoon in Italy!!

Our new album Live n’ Bernin’ will be

available for sale at this show.

(Also available online at CDBaby Amazon,

and ElusiveDisc; as well as downloads on

iTunes, CDBaby and Amazon).

—————————————-

8/2/17

PRESS RELEASE/Wed AUGUST 2, 2017 at

12:10-12:40 pm at the Free Admission
GLENDALE NOON CONCERTS/

Pianist NANCY FIERRO:
Music from the Belle Epoque.

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

WINNING FOR LOSING / PENSION ACCOUNTABILITY ROADBLOCK / EVENTS

July 21st, 2017

7/21/17

I. CAN’T WIN FOR LOSING

II. PENSION ACCOUNTABILITY ROADBLOCK

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. CAN’T WIN FOR LOSING

Instrumental Casting, a company owned by Contractor/Violinist

Jennifer Walton, who booked a non-union job for 68 musicians

at the Dolby theater a while back and didn’t hire union musicians

because she knew the Union would show up and target those union

musicians who played the job. She did it to protect them.

Now the AFM/Local 47 is going after her because union members

WEREN’T asked to play. It’s opposite day all over again. Sometimes

you truly cannot win for losing.

Here is a statement from Instrumental Casting:
Jennifer Walton recently contracted a 68 piece orchestra comprised

of non-union musicians, for a non-union client, at a non-union venue.

She knew the union would show up looking for union musicians

playing the gig in violation.  In her hiring emails, she alerted the

musicians that union reps would be present and insisted she’d

not allow any union musicians on the gig in order to protect them

from punishment.  At least one of the musicians she contacted

informed the AFM of her email in which she stated she would

not hire union musicians on this non-union gig.
AFM leafletted the rehearsal for her 68 piece orchestra gig and

also leafletted the patrons at the Dolby Theater where the

concert was held.  Jennifer filed a charge against the AFM

with the NLRB for selective enforcement, slander, and

harassment of the musicians and patrons.
AFM then filed a charge against Jennifer’s business,

Instrumental Casting, under which she contracted the

job, for unlawful discrimination against union players.

Their argument is that union players should decide

whether or not they will accept a non-union gig.

Jennifer Walton, of Instrumental Casting, offers

work for AFM, SAG, Fi-core, and non-union

musicians alike.

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

II. PENSION ACCOUNTABILITY ROADBLOCK

We thank the Musicians for Pension Security for staying on this for us all!

MPS INFORMATION REQUEST TO THE AFM-EPF HITS ROADBLOCK

Dear Plan Participants,

You may have seen the latest AFM-EPF newsletter, stating, “Our trustees take seriously the commitment to more frequent, comprehensive communication” (June 2017, p.3). Last month, Musicians for Pension Security requested a series of documents. In addition, we asked specific questions concerning investments, expenses, lobbying costs and other subjects of vital importance. Not one of these requests
for information was honored.

In response, Executive Director Maureen Kilkelly simply referred MPS to the disclosure document inventory list on the AFM-EPF website. This list includes several years of actuarial and investment management information, and the copying cost to receive these documents. This information, as required by federal law, must be posted to their website. For our remaining requests, Ms. Kilkelly’s response speaks for itself, “We are not responding to the remaining requests.* ”

So what were the requests that the trustees refused to respond to?
•    We asked for the minutes of trustee meetings, as well as minutes of the investment and audit committees. It seems to us that trustees who wish to be transparent would make their minutes available, but they chose not to allow us access to those documents.
•    We also asked for specific information about the losses that occurred in 2007-09 during the financial crisis. How much of these losses were in high-yield bonds, as the trustees have claimed? How much were within the category of alternative investments? How much were corporate stocks? The trustees will not disclose that information.
•    With respect to the financial crisis, we asked whether the trustees considered taking legal action against those responsible for catastrophic investment losses. Tens of billions of dollars have been recovered by peer pension plans against wrongdoers in connection with financial crisis losses. Why didn’t the AFM seek compensation? Again, the trustees will not say.
•    MPS has reason to believe that several AFM-EPF trustees actively supported the Multiemployer Pension Reform Act, MPRA, a law that could give trustees the ability to cut our pension benefits, in 2013 and 2014 (NCCMP).  We asked trustees whether any of our plan money was used to help lobby for this law. In our view, plan money should be used for the exclusive benefit of plan participants, and any money spent on our behalf for lobbying purposes should be disclosed. The trustees, however, choose to remain silent on the subject.
•    Regarding spending, we asked about travel expenses, meeting expenses, and the cost of education for the trustees. After the AFM-EPF spent $250 million of plan money over the last decade on fees and expenses, coupled with extremely poor performance, this is an area of great concern. Transparency of spending during a financial crisis of this magnitude is critical. Our trustees would not share any information on this subject.
•    Trustees will not answer the simple question of whether the Department of Labor performed an expense audit on the plan in the past five years.

So while communications from our trustees may have become more frequent and comprehensive as of late, we anticipate that they will be in one of two categories : either divulging only what is required by federal law, or advancing their own point of view. It seems that trustees will not answer inconvenient or uncomfortable questions that would enable plan participants to seek transparency and accountability.

Sincerely,
Musicians for Pension Security, Inc.
www.musiciansforpensionsecurity.com

*Ms. Kilkelly included a disclaimer on her email that prevents us from sharing it publicly

[EC: There is obviously a lot that stinks here. There is obviously

dishonesty here. Our question is why haven’t the trustees and

particularly Ms. Kilkelly been fired? We’re being fleeced either

by incompetence or design.]

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

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
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

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

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

http://www.responsible47.com

—————————————-

7/29/17

SESSIONS AT THE LOFT

ASHLEY BRODER AND FRIENDS

Event to be held at the following time, date, and location:
Saturday, July 29, 2017 from 7:30 PM to 9:30 PM (PDT)
Sessions at the Loft
2465 Ventura Blvd
Camarillo, CA 91320

—————————————-

8/2/17

PRESS RELEASE/Wed AUGUST 2, 2017 at 12:10-12:40 pm at the Free Admission
GLENDALE NOON CONCERTS/ Pianist NANCY FIERRO: Music from the Belle Epoque.
Photo of pianist Nancy Fierro and a press release are attached.
Thank you!
Jacqueline Suzuki
Curator, Glendale Noon concerts
818 -249-5108
http://www.glendalenoonconcerts.blogspot.com

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

BUILDING IS NOW GONE / 47 BATTLES NON-UNION WORK / EVENTS

July 14th, 2017

7/13/17
I.  LOCAL 47 BUILDING IS GONE AS OF JULY 15TH
II. LOCAL 47 BATTLES NON-UNION WORK
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.  LOCAL 47 BUILDING IS GONE AS OF JULY 15TH

Our building will be official gone tomorrow. Many still

don’t buy that the process was legit,.. and there will

always be 1000 ballots unaccounted for.  But no

matter, the building is now history.

Those who didn’t fight to save the building and

sat the process out can now choose to either fight

to make sure the Local gets more responsive to

the non-elites, or let the Local continue to wither

with only the greedy and /or self-interested coming

out ahead.

The choice is yours.

THE COMMITTEE

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

II. LOCAL 47 BATTLES NON-UNION WORK
Musicians Local 47 Vows To Battle Nonunion Work

“Done In The Shadows”

From Deadline Hollywood.

Saying that its contracts have been “put at serious risk”

by “work done in the shadows,” Local 47 of the American

Federation of Musicians is preparing to launch a campaign

“to ensure that musicians can earn a livable wage working

in Los Angeles.”

AFM Local 47
In a recent communique with its members, the local’s executive

board said more and more musicians “are being asked to record

music for major, well-funded projects without union contracts.

If union contracts are made irrelevant by work done in the

shadows, the floor for pay will drop for both union and non-union

musicians.”

Read the full message below.

In many cases, union musicians are forced to choose between

working nonunion or not working at all. “These employment

practices are especially divisive and pernicious,” the executive

board said, “because they exert enormous pressure on

individual union members.”

The local’s current contract with the major studios doesn’t

expire until next April, but it’s already gearing up for a tough

round of bargaining. One of the challenges it’s facing is the

trend toward using foreign orchestras to score films and TV

shows that were shot right here in Los Angeles. Another

problem is that the AFM’s multibillion-dollar pension plan

is in “critical” condition.

“The actuary certified that for the plan years beginning April

1, 2016, and 2015, respectively, the plan is in ‘critical’ status

under the Pension Protection Act of 2006,” according to the

AFM Pension Plan’s latest financial report. As such, the

Plan’s board of trustees was required by law to adopt a

rehabilitation plan designed to improve its financial health

and to allow it to emerge from critical status.

 

“We all know what it is like to wonder where your next

call is going to come from or how you are going to pay

your bills,” the executive board said. “No single musician

can stop the forces that undermine our profession, but

as a union we have always been able to push back. We

believe that it is now necessary to take action together.”

Here is the board’s full message to Local 47 members:
To all members of the American Federation of Musicians

Local 47: Our contracts are the heart of our union. Whatever

we achieve through collective action and collective bargaining

is secured because management signs agreements. Our contracts

allow us to make sure employers do what they are obligated to do.

They raise the expectations of all musicians for pay, benefits,

and professional treatment.

Recently, those contracts have been put at serious risk. Members

of Local 47 are being asked to record music for major, well-funded

projects without union contracts. If union contracts are made

irrelevant by work done in the shadows, the floor for pay will

drop for both union and non-union musicians. These employment

practices are especially divisive and pernicious because they

exert enormous pressure on individual union members.

We all know what it is like to wonder where your next call is

going to come from or how you are going to pay your bills.

No single musician can stop the forces that undermine our

profession, but as a union we have always been able to push

back.

 

We believe that it is now necessary to take action together.

We call upon the Federation and other AFM Locals to unite

with our membership in defense of our union and our

contracts. In the coming months we will be launching a

campaign to uphold our contracts, to recapture work

being done in the shadows and to ensure that musicians

can earn a livable wage working in Los Angeles.

Our goals are:
1. To ensure fair pay, benefits, and professional

treatment for musicians.

2. To protect our union’s ability to bargain, administer

and uphold our contracts.

3. To bring more work under union agreements.

We, the Executive Board of AFM Local 47, are committed

to building a stronger, more successful future together.
– AFM Local 47 Executive Board

[ EC: Well there’s Irony for you. Complaining about non-

union work when members of the board and every

committee at the Local do those very same jobs.

 

Put very simply, as per recording, “NO buyouts,

NO work” They need to get that.

 

The world has moved on.

The problem is our recording contracts are obsolete

and wishful thinking that help only a minute fraction

while penalizing 98% of the members, and deteriorating

our industry.

 

Our long time building gone, trading it for a short term

infusion of money while making no changes to the

ridiculous business model that benefits only a fraction

of even the RMA members, means that once they’ve

pissed away that money there will be no more “rich

relatives” or buildings to turn to.

 

Either the Union will be forced to change their ways

with buyout contracts or our union recording industry

will eventually cease to exist. Even the blindest adherent

of the status quo knows deep down that the game is over.

The only question left is, will you allow everyone’s future

in the recording industry to die so some can stuff their

pockets a little longer?

 

As another aside, have you heard the self-congratulations

and back slapping that Local 47 has been giving itself for

securing raises in contracts for area orchestras? Well the

rest of the story is those organizations, when

confronted with the increased fees, simply cut out rehearsals.

In some cases orchestras are now having 1 rehearsal per

concert. So in most cases, with fewer services, the players

are making less than they did before.

 

But that won’t stop the administration for blowing smoke

professing what a great job they’re doing.

The COMMITTEE

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

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
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

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

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

————————————————-

7/11-14/17

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim

Richmond and Kimberly Ford in presenting the

Santa Barbara Jazz Workshop, July 11-14, from

Tuesday afternoon to Friday night.

 

A faculty of Jazz professionals teach instrumental/

vocal master classes, improvisation, Jazz Listening

(How to listen, and who to listen to.), modern Jazz

combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

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

—————————————-

7/19/17

GLENDALE NOON CONCERTS

Wed JULY 19, 2017 at 12:10-12:40 pm at the Free Admission
Duos by Dwight Dixon, Katherine Hoover, Peter Maxwell Davies & Payton McDonald:
Flutist Katherine Marsh & Percussionist Timm Boatman.

Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.

Jacqueline Suzuki
Curator, Glendale Noon Concerts
818-249-5108
Flutist Katherine Marsh is an active professional musician and teacher. She is currently the solo piccolo player of the Santa Barbara Symphony, principal flute of the San Fernando Valley Symphony Orchestra, and has performed with the Los Angeles Philharmonic, the Santa Barbara Opera and Master Chorale as well as other numerous symphony and chamber ensembles throughout Southern California. Originally from Bowling Green, Ohio, Katherine received a Bachelor of Music Degree from the Eastman School of Music and a Master of Music Degree from the University of Southern California. Her principal teachers include Bonita Boyd, Samuel Baron, Roger Stevens, and Louise DiTullio. Katherine was accepted into the LA Philharmonic Orchestral Training Program, The Round Top Music Festival, and the Orchestral Institute in Graz, Austria.  She has performed in masterclasses with James Galway and Jean Pierre Rampal. This past November Katherine premiered James Domine’s Flute Concerto with the San Fernando Valley Symphony. Katherine’s piccolo and flute playing can be heard in many Star Wars Video games performing with the Skywalker Orchestra. In addition to orchestral work, Katherine is a member of the California Music Teacher’s Association and is a chamber music coach for Junior Chamber Music.

Percussionist Timm Boatman began his career with the Dallas Symphony and Opera. He has performed with the Los Angeles Philharmonic, including recordings conducted by Mehta, Previn, Tilson Thomas and Bernstein. He performed with American Ballet Theatre, Joffrey Ballet, Dance Theater of Harlem, Royal Ballet of Covent Garden, Paris Opera Ballet, Stuttgart Ballet, Royal Danish Ballet, National Ballet of Cuba, Miami Ballet, New York City Opera, Berlin Opera, San Diego Opera and many others. He played drumset for the ballets The River by Duke Ellington, Fancy Free by Bernstein and the operas Porgy and Bess and Rise and Fall of the City of Mahagonny, which won two Grammys for LA Opera. He played with the LA Opera Orchestra since the first season. He also played on the recent Grammy winning  The Ghosts of Versailles.

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

YOUTH ORCHESTRA AUDITIONS / EVENTS

July 3rd, 2017

7/2/17
I.  OLYMPIA YOUTH ORCHESTRA AUDITIONS
II. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

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

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

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

I.  OLYMPIA YOUTH ORCHESTRA AUDITIONS

Dear Friends & Colleagues:

It is very important for students to have a good musical education on
top of academics and sports as extra curricular activity during their
school years. The Olympia Youth Orchestra is a high level orchestra
which only performs original standard repertoire as well as works
by contemporary composers. Easy arrangements are seldom included
in the concert programs.

Please kindly spread the word that the Olympia Youth Orchestra will
be holding its annual auditions from now until the end of August.
Interested students should go on the website at
http://www.olympiaphil.org/wp/ and submit the application form
under “youth orchestra”. Audition requirements are scale and solo
piece of student’s own choice plus some sight reading of orchestral
excerpts from the standard repertoire.

Rehearsals are on Sunday afternoons at CSULA. Annual tuition fee
is $650. There are 4 performances each season, 2 on the campus
of CSULA and 2 at the historic San Gabriel Mission Playhouse. Non-
CSULA students will also have an option of enrolling at CSULA for
transferable college credits of the orchestra class for an additional
charge by the university.

Thank you so much!

Fung Ho

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

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
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

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

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

———————————————-

7/5/17

GLENDALE NOON CONCERTS

Wednesday,  JULY 5, 2017 at 12:10-12:40 pm
GLENDALE NOON CONCERTS will feature
Mandolinist EVAN MARSHALL.

Jacqueline Suzuki
Curator, Glendale Noon Concerts
818 -249-5108

Evan  J.  Marshall is  an  internationally  renowned
mandolin  virtuoso,  and  is  widely  regarded  as
he  world’s  premier  solo  performer  on  mandolinin
Duo-Style. By  himself,  he  sounds  like  several
of  the  world’s  finest  mandolinists  performing
together. His  stylistic  signature  is  Classical,
with  strong  influences  from  the  Italian and
American  Folk  traditions.  Country  guitar
legend  Chet  Atkins  called  Evan  “A  true
virtuoso,  one  of  the  few  great  musicians
of  our  time.”
Inspired by Atkins  and  violinist  Jascha  Heifetz,
Evan has  created  a  uniquely  recognizable
approach  to  solo  mandolin  performance  that
combines  bass  lines,  chords,  rhapsodic runs
and  tremolo  melodies.  He  started  Classical
violin  studies  at  age  seven,  and  added  the
mandolin  at age 14.

In  addition  to  solo  performances,  Evan  has
been  a  Featured  Guest  Artist in  Pops  concerts
with  a  number  of Symphony  Orchestras,  including
Houston, Phoenix, Long  Beach, Grand  Rapids, Fort
Worth,  San  Antonio,  Jacksonville, and Pensacola.

Two  of  his  solo  mandolin  recordings  have
been  released  by  Rounder  Records:

————————————————-

7/11-14/17

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim Richmond
and Kimberly Ford in presenting the Santa Barbara Jazz
Workshop, July 11-14, from Tuesday afternoon to Friday night.

A faculty of Jazz professionals teach instrumental/vocal master
classes, improvisation, Jazz Listening (How to listen, and who to
listen to.), modern Jazz combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

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

—————————————-
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

COMMENT ON MUSICIAN’S STORY/ EVENTS

June 25th, 2017

6/24/17
I.  COMMENT ON ‘ONE MUSICIAN’S STORY’
II. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

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

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

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

I.  COMMENT ON ROBERT’S STORY

Hello Editor!

One of our now deceased members once said…”one day you’re  a star and
the next day you’re parking the car.”  Except for those who have “gamed
the business” the moral of the story is CYA (Cover Your Ass)!

Is there anybody that can’t follow the dots from Universal to today?  See
a YouTube interview with SD from 1994…Really a NON-musician put
into place by a selected few and made a fortune making the selected
few a fortune…

Sickening!!!

Hope all those who are trying to earn a living realize the gravy train is
over…even IF they get a retail call.  CYA!

Member (asked to go Beck Status)  Why not?

interview – https://www.youtube.com/watch?v=9NLaVv2ZWt4

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

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
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

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

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

—————————————————————————–

6/25/17

SAXTRAVAGANZA 2017
The members of Saxtravaganza, a local 12-member all-saxophone
ensemble, would like to invite you to their concert this Sunday
evening. This year’s program will take place at

Hart Hall, located
24151 Newhall Ave. (inside Wm S. Hart Park)
Newhall, CA

This is a free concert. Music begins at 7PM.

This year will mark Saxtravaganza’s 18th annual performance
and is the brainchild of Kathleen Maxwell, a saxophonist and
private woodwind teacher in the Santa Clarita area. The group
will perform a variety of music, including marches, rags, tangos,
jigs, movie themes, and fresh arrangements from group members
and area composers.  

Saxtravaganza boasts some of this area’s finest saxophone
students, hobbyists, teachers and professional players who
come together for one week each year, to share their music.
Invite your friends and family to the 18th annual SAXTRAVAGANZA.

For more information about the group, you may contact
Kathleen Maxwell at: (661) 291-1729 or
visit their website at: http://www.saxtravaganza.com/   
or

http://calendar.santa-clarita.com/event/saxtravaganza_2017

Hope to see you this Sunday.
Kathleen Maxwell

———————————————

6/25/17

Dear Doctor Wu Fans,

We will be appearing at the Santa Monica Summer SOULstice Festival
on Sunday, June 25th 2017 from 4:30 to 6:30 PM, where we will play
two sets of your favorite Steely Dan tunes.  Please bring your friends
along and enjoy a great time with us!

Edgemar Courtyard
2440 Main Street
Santa Monica, CA 90405
4:30 – 6:30 PM

We hope to see you there!

The Doctor Wu Band
http://www.doctorwuband.com/
https://www.facebook.com/doctorwuband

————————————————-

7/5/17

GLENDALE NOON CONCERTS

Wednesday,  JULY 5, 2017 at 12:10-12:40 pm
GLENDALE NOON CONCERTS will feature
Mandolinist EVAN MARSHALL.

Jacqueline Suzuki
Curator, Glendale Noon Concerts
818 -249-5108

Evan  J.  Marshall is  an  internationally  renowned
mandolin  virtuoso,  and  is  widely  regarded  as
he  world’s  premier  solo  performer  on  mandolinin
Duo-Style. By  himself,  he  sounds  like  several
of  the  world’s  finest  mandolinists  performing
together. His  stylistic  signature  is  Classical,
with  strong  influences  from  the  Italian and
American  Folk  traditions.  Country  guitar
legend  Chet  Atkins  called  Evan  “A  true
virtuoso,  one  of  the  few  great  musicians
of  our  time.”
Inspired by Atkins  and  violinist  Jascha  Heifetz,
Evan has  created  a  uniquely  recognizable
approach  to  solo  mandolin  performance  that
combines  bass  lines,  chords,  rhapsodic runs
and  tremolo  melodies.  He  started  Classical
violin  studies  at  age  seven,  and  added  the
mandolin  at age 14.

In  addition  to  solo  performances,  Evan  has
been  a  Featured  Guest  Artist in  Pops  concerts
with  a  number  of Symphony  Orchestras,  including
Houston, Phoenix, Long  Beach, Grand  Rapids, Fort
Worth,  San  Antonio,  Jacksonville, and Pensacola.

Two  of  his  solo  mandolin  recordings  have
been  released  by  Rounder  Records:

————————————————-

7/11-14/17

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim Richmond
and Kimberly Ford in presenting the Santa Barbara Jazz
Workshop, July 11-14, from Tuesday afternoon to Friday night.

A faculty of Jazz professionals teach instrumental/vocal master
classes, improvisation, Jazz Listening (How to listen, and who to
listen to.), modern Jazz combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

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

—————————————-
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

ONE MUSICIAN’S STORY / EVENTS

June 17th, 2017

6/17/17
I.  ONE MUSICIAN’S STORY
II. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

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

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

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

I.  ONE MUSICIAN’S STORY

Robert Matsuda is a violinist who has contributed to film
and television scores since 1996, including the feature
film The Horse Whisperer (1998) and the blockbuster
television series Lost (2004–10)

A member of the Union of Professional Musicians, Local 47, in
Los Angeles, Robert recalls the heyday of motion picture
musicians and describes the ways in which producers have moved
much of the work overseas or resorted to licensed pop songs or
computer-generated music.

QUESTION:How did you get your start with orchestral soundtracks?
Your first film was The Horse Whisperer, correct?

I did a film before that in which my friend put together the musicians
for a Pauly Shore movie called Bio-Dome (1996)
.
Interestingly enough, the residuals for Bio-Dome went on, and on,
and on. At the back end, it actually paid better than The Horse
Whisperer. I’m probably still getting checks for Bio-Dome. It was
officially my first movie project.

QUESTION: How did you get your foot in the door?

When I was a teenager studying the violin, I had a teacher, who
was part of the Fox orchestra back in its heyday. You can see
him in the Marilyn Monroe movie How to Marry a Millionaire
(1953)
.
He would tell me about playing for the movies while I was at
my lessons. It sounded like a really great thing! You’d be playing
your instrument, and it would allow you to make what I assumed
would be a comfortable middle-class living. I knew that was what
I wanted to do when I grew up.

Bio-Dome came out in 1996, and I got that job after about ten
years of going around playing for concertmasters and contractors
and trying to get my foot in the door. When people ask, “How
do you get started?” I have to disabuse them of the notion that
there’s a clear-cut way of getting into this kind of work, at least
what’s left of it. And it’s different for everybody, because it’s
not like applying for a job at an insurance company.

I got the Bio-Dome job because I was a friend of the contractor
who got the job because he was a friend of the composer. They
both attended the same high school when they were younger.

QUESTION: That got you started. What kept your career going?

I had a good stretch of work after Bio-Dome, until 2006. I got
my position on The Horse Whisperer through a connection
with the composer’s family. I had been working with volunteers
for about ten years at the Los Angeles County Museum of Art
(LACMA), and the word got around that I was a violinist.

One of the volunteers was related to the composer for
The Horse Whisperer and she put in a good word for me.
I owe that job to her. Then, once I was playing for him, I started
getting hired to play on his other films and things expanded
from there. It’s critical for instrumentalists to end up on a
contractor’s list. They are responsible for hiring people to
play in the orchestra.

QUESTION: How do you get on a contractor’s list?

It’s a nebulous process. There are so many ways! You play
for people, like the lead violinist, who is called the concertmaster.

Of course, those people have an inflated sense of their own power.
People have to play for them; they’re the gatekeepers who make
recommendations to the contractor. My entrée was through a family
-work connection. The composer then told the contractor to contact
me. And of course people know each other from school, “Oh, I went
to Juilliard with so and so.” They recommend you to the contractor.
People even say there’s a casting couch.

When composers are young and they’re trying to make it, they need
a reel. They need projects to work on, and they often seek out student
filmmakers at film schools. The composers don’t make much money,
which means they can’t pay the musicians much, if anything at all.

Oftentimes they will ask musicians to volunteer: “I don’t have a lot
of money, but I’ll buy you pizza. Can you help me score the short
film I’m working on?” Musicians will agree to do the work in the
hope that the composer’s profile in the industry will rise and that
they’ll take you along for the ride. But that doesn’t always work.
In fact, a major beef with my colleagues is that they’ll play for
free! Worst of all, when people you play for become more successful,
they tend to forget that you once did them a favor. Of course, I
imagine that if there’s a lot of money on the line and if the young
composer has a choice between working and not working, they’ll
say to the contractor: “Okay, fine, just take care of it. I’m sorry I
have to leave Robert and his friends behind, but, this is my chance.”

So, it’s a complex process. By the way, the same can be said about
contractors. They might use you once—if it is helpful to them—and
never hire you again. So the contractor is a central gatekeeper.

They’re like Saint Peter, they are so powerful. In fact, there are one
or two who are enormously powerful and influential. For a long time
during the 1970s, 1980s, and 1990s, there was one woman named
Sandy DeCrescent who controlled access to 90 percent of the work.

She retired, and one of her assistants, Peter Rotter, took over. Then
he controlled 90 percent of the work. At some point after the transition,
Sandy and Peter got into an argument over some business or personal
matter. Now she’s back in the game, and they’re mortal enemies! I’ve
never seen them. To me, they’re like the Wizards of Oz. I’m not in the
90 percent world. I’m in the 10 percent world. And for a good stretch
of time, 10 percent was pretty good. But now, that amount of work
is so much smaller that it breaks down to almost nothing.

QUESTION: Do contractors tend to hire the same people? Do orchestras
stick together from film to film?

Contractors put together an orchestra for each film. And there are
contractors who attach themselves to certain composers. So this
creates a degree of expectation: if you played on one composer’s
film, you will likely play for all of their films.

Composers like to work with people they know and trust; so do contractors.
But there are no guarantees.

QUESTION: When contractors reach out to people, are they asking for
an audition?

No, they know you already. They know they want you. It’s more of a
conversation about money, time, and availability.

QUESTION: When you were working consistently, how often were
you working?

Before I did The Horse Whisperer, I was working at LACMA, so I
didn’t live on my music work. I would do community orchestras,
weddings, and any kind of live music work that I could get.
Even after The Horse Whisperer I still wasn’t getting
enough work to quit the museum, but by that time I had accumulated
so many sick days, vacation days, and free days that LACMA wanted
me to take days off. That was great because I would get a paid day
off and be able to do a movie.

I met my mentor, Harris Goldman, on The Horse Whisperer.

I was very fortunate to meet him; he had great relationships with
many different composers and orchestrators. Orchestrators are
important because they often write the music for a film based on
the composer’s ideas. Orchestrators possess the technical know-
how to translate those ideas into sheet music. Connections to
composers and orchestrators are helpful—obviously they’re both
powerful, and they can make recommendations to the contractors.

Harris introduced me to Graeme Revell, who has since retired. He
also introduced me to a young composer named Michael Giacchino,
who is huge now. I think I did his first non-video-game project,
which was the TV series Alias (2001–6)
.
Alias led to Lost.

For a while, Lost and Alias were on at the same time, and then he
started doing movies—Pixar movies like
The Incredibles (2004), Ratatouille (2007), and others.

So, right there, I had access to Thomas Newman on some good
films. I was doing Pixar movies and any other movie that Michael
Giacchino was doing, and dur ing a brief period, I was doing both
Alias and Lost.

One week I’d go in and do Alias and the next week I’d do Lost.
And then Alias went off the air, but I still had Lost.

QUESTION: Can you describe a typical day?

For episodic television, it’s a short day. An episode of TV for an
hour-long show like Alias or Lost, which is called a single,
usually requires three hours: typically from ten in the morning
to one in the afternoon, with a ten-minute break at the top of each
hour. For a motion picture, there’s more footage that needs to be
scored, so depending on the nature of the film, it could be one day,
known as a double session. That could mean about six hours with
a lunch break, or it could mean a whole week.

QUESTION: Do studio musicians need a second income?

I would say the most successful people have a regular flow of
studio work across film and television. But they also teach and
play in other orchestras, like the opera or the Los Angeles
Chamber Orchestra. However, they always have studio work
at the core of their career.

QUESTION: How much can you make in a recording session?

If it is a standard budget, a rank-and-file musician can make
about $80 an hour. That’s not bad, and you get money on the
back end as well. There is also low-budget, and now something
called low-low-budget, which pays considerably less.

QUESTION: What is the back end?

Some office in Encino tallies it up, and it’s predicated on things
like video sales, DVD sales, and what happens overseas. They
tally all of the projects that you have worked on and your
percentage of royalties, and then you get a check in the
summertime. You get one check for film and television, and a
smaller check the next month for any kind of phonograph work
you’ve done. (They still say “phonograph” even though it’s an
incredibly outdated term.) It refers to work you’ve done on
commercial music, like albums or singles.

With your check, you get a long itemized statement, and it
behooves you to look at it closely to see if they missed anything.
It happens. But it’s also really interesting to see the different
trends across the film and television you’ve done. Like
I said, I’m still getting money from old projects like Bio-Dome.
It’s maybe $10, but it’s money! Other films have a huge drop off.
For instance, Star Trek (2009) made some good money at first,
and then the next year it went down a little, and then
down, down, down, down very quickly. It was a rapid drop.

Both Lost and Alias made a lot of money in international and
ancillary markets.

QUESTION: Over the course of time, how much money could
you expect in residuals?

It was pretty good money. It wasn’t astronomical like it is with
some movies, but it was always a nice check. I don’t recall
exact amounts, but the back end on those shows could pay your
rent for the month. It’s always surprising what pays well on the
back end. Some projects that you think wouldn’t do well end
up paying you the most.

For example, I have a friend who did a sidelining job on the movie
I Love You, Man (2009). He was playing in a quartet at the
wedding at the end. Sidelining means you appear on camera,
almost as an actor. Usually you’re miming to prerecorded music;
you’re just there as a visual. And nobody wanted to take the job!
You had to go up to Malibu every day and be there really early,
and it just didn’t seem like a terribly good job, but because there
was no other scored music— every other song on the soundtrack
was a pop song—they got this large sum of money! Divided among
the four of them, they got really, really good money on the back end.

Another friend, a bass player, had an appearance on a Chili’s commercial.
He was playing the bass with a jazz singer. When he first heard about
the job, he wasn’t going to audition for it, but we convinced him. I think
when everything wrapped up he probably made $10,000 for that, which
is excellent for essentially one day’s work.

QUESTION: When you look at the itemized list of residuals, what have
been some of your biggest surprises, other than Bio-Dome?

A movie that paid very well was The Incredibles. We knew that it was
going to make some good money because it was very successful. But
it was worth thousands of dollars for me! Everybody was asking about it:
“Did you get your check for that?” Because, you know, not everybody
is in that top echelon of musicians, where they’re working for everyone
all the time.

A lot of the musicians in Los Angeles are just like me, waiting for that
elusive studio call, which has become more and more rare.

QUESTION: What happened? You said you started to notice a change
around 2006 or 2007.

What happened was just an acceleration of trends that were already in
place. Costs all come out of the producers’ pockets. I only make scale,
but other people in the orchestra, say a section leader, get double scale.
And if a contractor hires someone we call a doubler—someone who is
hired to play more than one instrument—scale pay is automatically higher.
Plus, the contractor could be making double or triple scale. So it all starts
to add up before you even calculate the back end, which also increases
depending on your scale pay. I think producers began to say, “This is
an unnecessary expense. Let’s go overseas. Let’s go to London.”

They have nationalized health care so there are no benefit costs for
producers. They don’t pay any residuals. There is no union. The musicians
just get paid their hourly rate for their time in the studio.

George Lucas has all of his films done in London. He has always been
virulently antiunion. On the other hand, Thomas Newman has always
been committed to scoring his films in L.A. He comes from a film
music dynasty, so I think he has a strong sense of loyalty to keeping
business in the city. He is loyal to musicians here. His father was
Alfred Newman, his uncle was Lionel Newman, his cousin is Randy
Newman, and his brother is David Newman.

Nevertheless, he got the 007 franchise, and that does not leave England,
so now he has to go over there and use their musicians.

Of course London has a lot of incredibly talented musicians. But if you’re
already in the London Symphony Orchestra, you have that work, so film
jobs are just extra cash. Even if you’re not in the London Symphony
Orchestra, or the four or five other orchestras there, there are lots of
opportunities.

From what I understand, Abbey Road and Air Studios are open night
and day, seven days a week. It’s incredibly busy. Freelance musicians
are scoring films or video game soundtracks. Video games are a huge
market now! Some of them have better production values than motion
pictures. I did some of that ten years ago. I started working on Call of
Duty and Medal of Honor. We basically created motion picture
soundtracks, using a big orchestra. But the video game companies have
become even more tightfisted about residuals and in negotiating with
the unions. They’re basically saying, “We don’t need to do this anymore.”

Whatever pugnacious tactics the unions had unfortunately weren’t
enough to prevent studios from going either overseas or out of state
to find musicians who would accept their terms. I think Seattle was
the first city to break away from the national union.

QUESTION: How pugnacious was the union when this trend started?

I think it was mainly verbal. I don’t think there was a lot of punch
behind it, compared to the other [motion picture] unions. The
musicians’ union doesn’t have as much power. When writers
go on strike, you have no content, so things grind to a halt.
But when musicians go on strike, they say, “Well, we’ll just go
out of town.”

QUESTION: Why is it so easy to go out of town? Don’t directors
and producers want to be closer to the action when they’re in
postproduction, to oversee the development of the soundtrack?

You would think, but then you have to consider the money, and
that’s all the producers and studios are worried about right now.
A studio is just a distribution channel owned by a much larger
global entity. And because they’re multinational corporations,
they have to answer to the bottom line.

The executives who run these multinational corporations likely
have no interest in film music or where it is done. They just
have to answer to shareholders. Accountants have much more
power than they used to. Can you save money by going to
London, or the Czech  Republic, or Macedonia, or Seattle?
If so, we’ll do it!

QUESTION: Where do they go? We know about London and
Seattle.

The Czech Republic is very big.

QUESTION: Why the Czech Republic?

It’s an incredibly musical place. Mozart in his time was
more popular in Prague than in his native Austria. The
country has a rich tradition of symphonic music that includes
Antonin Dvořák and other Czech composers. And the cost
of living is lower there, so wages are lower, and producers
don’t have to pay into health care.

They don’t have to pay the back end. You just have to pay
the musicians for their time in the studio.

QUESTION: What other places?

Well, that’s enough to sink the ship. But London is the biggest,
by far. Dreamworks Animation is 100 percent London. Until
the latest Star Wars, George Lucas did his recording in London.

The new one was done here in L.A., but I don’t know why.

QUESTION: Besides the battle over payments, what else is
making jobs disappear? I think our tastes in music have changed.
When you turn on the radio now and listen to Selena Gomez or
Katy Perry, oftentimes you’re not even hearing real instruments.
Those songs are purely electronic productions done by producers.
People don’t expect strings or real instruments backing up the artist.

Recorded music also has good sampling. A very good producer or
somebody with a suitable keyboard can get what passes for a good
string sound, and the samples are getting better and better. People
don’t expect to hear a natural, acoustic-sounding backdrop when
they hear popular music these days. Those jobs used to be important
sources of money when you weren’t doing film or television work.
Now you only expect to see violins or symphonic instruments,
as a visual. If Michael Bublé is doing something on PBS, you may
see actual instruments and musicians like me. Or if they’re doing
a studio session, I might get a call. But when it comes time to do
it live, they don’t want to see me. Directors will probably try
to get a pretty, willowy, young, white, blond woman to put on the
set. Somebody’s getting the work, at least, but it’s not me.

We had no idea this transition has been afoot. It’s startling,
especially when you consider the significant role that music
plays in most Hollywood films.

Oh, there’s no reason to apologize. Musicians are invisible,
so things can happen to the musicians and the general public
doesn’t know. That’s why I’m so eager and willing to go on
record, or talk to people about changes in our business.

I don’t want to be in politics or anything, but I do want to tell
people that musicians do exist, and I want to emphasize that
when you hear music in a motion picture, it’s played by real
people. Sometimes the music is done so incredibly well,
like with Thomas Newman, that it becomes part of the
narrative. The music is essential for propelling the narrative
of the film.

I think the whole transition has been manipulated in very
clever ways, even through union negotiations. Like I said,
unions don’t have a ton of power, so when they capitulate,
they often turn around to frame it as a benefit. They’ll say,
“We have this new agreement with the studios where a
certain amount of work has to be done in town.” On the
surface that sounds great! But the studios still determine
what work stays and what work goes. So they’ll do a bunch
of films Attack of the Killer Tomatoes: Part VIII in L.A., and
take prestige projects elsewhere. There’s a very tangible
difference for musicians between working on a low-budget
feature versus a big-budget prestige project.

QUESTION: In another interview, you were quoted as saying
that access to job opportunities is now extremely political.
Can you elaborate?

We had various watering holes in our business. I had my
watering hole with a few other animals. Other animals
were at different watering holes. I was at the Thomas Newman
–Michael Giacchino watering hole. It turned out to be a good
watering hole to have, but now these other watering holes,
which provided a lot of work, have dried up and those animals
are coming over to my watering hole, and the more politically
and powerfully connected musicians have the ability to push me
aside, if they want.

QUESTION: What kind of scoring work is still done in L.A.?

Luckily for me, two of the composers who still score here are
Thomas Newman and Michael Giacchino, and there is some
pop music that needs strings. If you Google my name you’ll
see some of the sound—not soundtrack but phonograph—work
I’ve done. I’ll do work for artists like Beck. Beck’s father,
David Campbell, is an orchestrator. So, right there, Beck has
an in-house person to do string arranging for his records. But
that type of work is increasingly rare. Today it’s mostly when a
producer wants some strings to make something more romantic.
They call it sweetening. If a popular artist like Katy Perry does a
ballad, that’s good for us because we might get the call for that,
but again, that doesn’t happen all that often. It’s just not the
predominant sound in popular music. They needed strings more
often during the disco era. My god, you listen to a disco album
that was recorded in the mid- to late 1970s and everything has
strings.

A lot of the work that made for a middle-class living was not
particularly prestigious. It was just work, and there was a lot of it.
For instance making commercial jingles for Safeway, and things
like that. Back then they used real musicians for jingles. The only
time you’ll hear an orchestra on television now is when you watch
The Simpsons (1989–ongoing), Family Guy (1999–ongoing), and
maybe one or two other animated things. Animation seems to require
real musicians.

Desperate Housewives (2004–12) used an orchestra when it was on
the air, but since the demise of Aliasand Lost, I don’t think there’s
been a lot of orchestra work for non-animated TV.

It’s just not looking good for musicians. People are taking early
retirement and taking their pensions. All it requires is that the
musician not accept any work for a year, and then he or she can
start getting pension payments. If work does come in
after that, you can take it, but that means we are essentially
bankrupting our pension fund. My royalty check is being taxed
at 1 percent, which then contributes to the retirement fund, which
is currently in the red. Hopefully the union can rebuild the coffers,
but right now we don’t know if there will be any money left when
my peers and I are ready to retire. I just assume I’m going to
somehow continue working when I’m ninety years old.

Let’s hope I’m able to!

QUESTION: What are you doing today?

I’m lucky that a couple of my friends made a financial intervention.
They took me out to lunch and reminded me that I inherited my
parents’ house after they both died in 2011. Since then, I had
been living in their house and slowly going broke.

They said, “You live in a great house. You have a swimming pool,
a view of the city, and you’re in Los Feliz. Fix up the house and rent
it.” Even though I was still grief stricken, I said, “Okay, I’ll do it.”
I got a loan, fixed up the house, and got a realtor. There were a couple
of offers that fell through and then somebody I had heard about and
liked from the entertainment industry came and loved the house. He
was a novelist for many years prior to becoming a showrunner.
One of his stories got made into a TV show and that totally changed
his life. Now he was working on another show, so he decided to
move to L.A., and he rented my house. I’m not out of the woods,
but at least I’m able to pay for an apartment down the hill from
my house and start paying off my debts. I hope he stays there
forever; he’s a great guy.

So the pressure has eased somewhat. Now I view myself more
as a landlord than a musician sometimes. Some musicians say
you have to do things like that, and a couple of players I know
became real estate agents, but that profession is also subject to
the market’s whims. Some older players have also invested in
property, so I have this little thing with the house and hopefully
there’ll be a point where I’m no longer paying off the debt. I’m
getting money from whatever is left from my movie, television,
and phonograph work. I’m sorry I can’t paint a brighter picture.

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

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
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

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

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

—————————————————————————–

6/21/17

Info about upcoming programs through AUGUST 2017
at the Free Admission Glendale Noon Concerts series
(concerts every first & third Wednesday at 12:10-12:40 pm)
are listed at http://www.glendalenoonconcerts.blogspot.com
Thank you for your support in publicizing the Glendale Noon Concerts!

Jacqueline Suzuki
Curator, GNC
818 249 -5108

On Wednesday  June 21, 2017 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
violinist Jacqueline Suzuki  and pianist Frank Basile performing
works by Ravel, Mozart and Debussy at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

JUNE 21, 2017 Program:
Violinist JACQUELINE SUZUKI
Pianist FRANK BASILE

MAURICE RAVEL Violin Sonata No.1 in a minor, “Posthumous” 
W.A. MOZART Sonata for piano and violin in e minor, K.304
CLAUDE DEBUSSY La plus que lente for violin and piano

JACQUELINE SUZUKI, violin, is a longtime member of the Long Beach and Santa Barbara Symphonies. A native of San Francisco, she began her earliest chamber music studies on scholarship at the San Francisco Conservatory. She has performance degrees from the Mannes College of Music (BM), where she studied with William Kroll, and the California Institute of the Arts (MFA).
As a Los Angeles freelancer, she has performed with many ensembles and in many genres, from rock, jazz, Latin and Arabic, to playing in the pit for the Bolshoi Ballet and onstage with the Three Tenors. She has recorded with diverse artists: Snoop Dogg, Neil Sedaka, Leonard Cohen, Whitney Houston, Bocelli, Lalo Schifrin, McCoy Tyner, Placido Domingo and many others, and appears on recordings by the Long Beach, Santa Barbara and Pacific Symphonies. She has spent summers at the Peter Britt, Oregon Coast, Carmel Bach and Cabrillo Festivals and has performed in a string quartet “in residence” on a raft trip down the Green River in Utah. Tours have taken her many times to Japan, Taiwan, Mexico, Canada, Europe, the Middle East and throughout the US. She initiated and curates the Free Admission Glendale Noon Concerts http://glendalenoonconcerts.blogspot.com and also the Edendale Up Close Concerts: http://edendaleupclose.blogspot.com

Frank Basile is a harpsichordist, pianist, organist, conductor, musical director, accompanist, singer, church musician, composer, arranger, orchestrator, and teacher. His career has brought him to Los Angeles recording studios, the choir lofts of churches throughout the United States and Europe, any number of theaters in Los Angeles, and the stages of Walt Disney Concert Hall and Carnegie Hall. Versatility has been the hallmark of his work, which has included teaching at USC, Loyola Marymount University, Santa Monica College, and Campbell Hall High School. He is a staff accompanist at Santa Monica College and Loyola Marymount University, an adjunct lecturer in Music at LMU, and director of music at St. Bede’s Episcopal Church in Los Angeles. He studied at Yale University, Northwestern University, and the University of Southern California.

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6/24/17

Song of the Angels Flute Orchestra
Saturday, June 24th at 4 p.m. at
La Crescenta Presbyterian church.
http://www.lcpc.net/
with guest arranger conductor Shaul Ben-Meir
and guest soloists
David Shostac and
Gary Woodward

Concert is free!
Donations are encouraged.

Shaul will be conducting his arrangements of:
Faure Pavane
DeFalla Suite,
Mendelssohn Ruy Blas Overature,
Night on Bald Mountain
and
Radetsky March.

David Shostac and Gary Woodward will be
bringing their musical flute colors to perform
Saint Saens –  Benedictus
and
Bach Violin Double (1st movement).

We will also be opening the concert with
John Williams Fantasy Medley and
Basin Street blues arranged and conducted
by our own esteemed
Charles Fernandez….

Whew – This concert will be awesome!!!

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6/25/17

Dear Doctor Wu Fans,

We will be appearing at the Santa Monica Summer SOULstice Festival
on Sunday, June 25th 2017 from 4:30 to 6:30 PM, where we will play
two sets of your favorite Steely Dan tunes.  Please bring your friends
along and enjoy a great time with us!

Edgemar Courtyard
2440 Main Street
Santa Monica, CA 90405
4:30 – 6:30 PM

We hope to see you there!

The Doctor Wu Band
http://www.doctorwuband.com/
https://www.facebook.com/doctorwuband

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7/11-14/17

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim Richmond
and Kimberly Ford in presenting the Santa Barbara Jazz
Workshop, July 11-14, from Tuesday afternoon to Friday night.

A faculty of Jazz professionals teach instrumental/vocal master
classes, improvisation, Jazz Listening (How to listen, and who to
listen to.), modern Jazz combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

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

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UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47