I. ELECTION BOARD NEWS
\nII. COMMENTARY FROM ANOTHER LOCAL
\nIII. EVENTS<\/p>\n
…Absolutely guaranteed anonymity – Former Musician’s Union officer
\n…The one voice of reason in a sea of insanity – Nashville ‘first call’
\nscoring musician
\n…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
\n…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician<\/p>\n
=================================<\/p>\n
I. ELECTION BOARD NEWS – MEMBER SUBMISSION<\/p>\n
Dear Editor,\u00a0<\/p>\n
At last Tuesday’s Local 47’s Executive Board meeting,
\nPresident Acosta introduced a member of the Election
\nBoard present to give his election report. Apparently,
\nto everyone’s surprise the member informed the Executive
\nBoard that he was there to resign from the Election Board
\nand any comments he made were strictly speaking for himself.<\/p>\n
Subsequently, he read his resignation letter citing several
\nproblems not disclosed to the membership that could have
\njeopardized the referendum if the numbers had been close.<\/p>\n
The letter should be included in the minutes of the meeting.<\/p>\n
Since there is nothing more for the current Election Board
\nto do and the next Election Board election is in April…
\nthe member simply did not have to run again.<\/p>\n
Why resign now?<\/p>\n
=================================<\/p>\n
II. COMMENTARY FROM ANOTHER LOCAL<\/p>\n
This was written by the president of another Local.<\/p>\n
While this is from December 2014, it is still valid today and
\nshows the damage the RMA’s policies have done Federation wide.<\/p>\n
THE WAY FORWARD WITH NATIONAL MEDIA POLICY<\/p>\n
The Colorado Symphony Orchestra is at odds with our national
\nunion (AFM) over differences with electronic media policy. In
\nrecent years the CSO [along with 70 other orchestras] was signed
\nto the AFM\u2019s Integrated Media Agreement (IMA) which expired
\nin the Fall of 2013. The IMA is a national agreement that covers
\nelectronic media work common to symphony orchestras such
\nas CDs, public radio and television, but doesn\u2019t cover commercial
\nwork such as commercial announcements, film, videogames, etc.
\nOver the past year the CSO offered to bargain a new agreement
\nwith the AFM, but that effort seems to have failed. On broader
\nfronts a multi-employer bargaining group was formed to
\nrepresent the management side for a new national contract, but
\none year later a new agreement remains in the offing.<\/p>\n
Before proceeding I should point out that the DMA (Local 20-623,
\nAFM) is the bargaining representative for CSO musicians with respect
\nto most matters in their collective bargaining agreement, including
\nlocal media. However, the AFM is the recognized bargaining agent
\nfor the Integrated Media Agreement and all national media work.
\nCertainly the DMA has a vested interest in seeing a satisfactory
\nresolution to any internal union conflict, but therein lies the question.<\/p>\n
Our local membership first learned of this conflict at our March 31,
\n2014 General Membership Meeting when members of the CSO shared
\nconcerns about the AFM\u2019s intransigence over a marketing collaboration
\nbetween the CSO and the Colorado Rockies. This was a local collaboration
\nthat had broad support of the musicians and a perfect example of creative
\nmarketing that orchestras across the country should capitalize on.
\nNonetheless, the AFM only fought management on this matter. They even
\nfought the musicians against their will, all the while claiming to represent
\nthem.<\/p>\n
Ultimately a resolution was passed at our membership meeting, expressing
\nunanimous support for the CSO on three points: 1) AFM\u2019s unreasonable
\ndelay in bargaining, 2) failure to consult the Orchestra Committee before
\ninitiating grievances against the orchestra, and 3) CSO musicians\u2019 exclusion
\nfrom contract and policy-making decisions that affect them.<\/p>\n
These are conventional expectations for any democratic organization, but not
\nin the AFM. One reason is the AFM has grown accustomed to setting uniform
\nrates for 70 years. Surely the prospect of achieving genuine support for
\nuniform recording rates across North America would be preferable, but
\nestablishing and enforcing such policy requires broad and inclusive
\nrepresentation that frankly does not exist in our union. Yes, the
\nAFM is obligated to represent the interests of those who do the work,
\nbut it\u2019s equally important to represent the interests of those who
\nmust otherwise turn the work down. That democratic model is a world
\napart from where we are now and would be expected if the AFM is
\nto serve the needs of \u201cthe many.\u201d<\/p>\n
This is a key point of contention for the CSO because the Integrated
\nMedia Agreement only covers \u201csymphonic\u201d work and does not cover
\ncommercial work. Moreover, I see no visible trace of representation
\nbetween CSO musicians and those who presently establish terms and
\nconditions for work under these commercial agreements. That remains
\nthe closely-guarded and protected turf of the Recording Musicians
\nAssociation (RMA) which is an AFM \u201cPlayer Conference\u201d that aggressively
\nrepresents a small fraction of the AFM membership who greatly influence
\nAFM recording policy. Despite their relatively small numbers, RMA has
\nlong demonstrated its ability to elect or unseat AFM officers who fail to
\nfollow their lead. That political will enables RMA to impose their agenda
\non AFM members who don\u2019t even know RMA exists, let alone what it
\nstands for. Consequently, RMA\u2019s unchecked power comes at the
\nexpense of \u201cthe many\u201d and only serves the needs of \u201cthe few.\u201d<\/p>\n
On the one hand I can\u2019t blame RMA for taking all they can from
\na union that wrongly and feebly ceded so much power to them,
\nbut I do blame other AFM player conferences (ICSOM and ROPA,
\nspecifically) for failing to see what\u2019s really going on here. These
\nrepresentational failures have taken a heavy toll on our union, so
\nI applaud the CSO and AFM members across North America for
\nstanding up to force necessary change. Fortunately their demands
\nfor change are also being heard. In his column in the November,
\n2014 International Musician, AFM President Ray Hair points to \u201cbrush
\nfires in Montreal, Vancouver, Denver, Los Angeles, and Minneapolis-
\nSt. Paul.\u201d Fair representation, especially with respect to electronic
\nmedia, appears to be a common demand.<\/p>\n
The only way to move beyond this old and deep-rooted conflict is
\nif our union commits to serve the \u2018greater good\u2019 and it appears
\nthat President Hair draws this very conclusion in his November
\ncolumn when he writes: \u201cAll previous AFM administrations faced
\nthe same institutional pressures as we do to this day \u2013 the internal
\nstruggle to balance the needs of the many, versus the needs of the
\nfew, or the one. The rise of business unionism over the past 60
\nyears, with its culture of divisiveness and hierarchical bargaining has
\nspawned a host of haves and have-nots in the workplace that serve
\nthe interests of the employers. This has come with a terrible cost.\u201d<\/p>\n
President Hair\u2019s hope to serve the greater good is a step in the right
\ndirection, but actions speak louder than words. Whether or not the
\nAFM then commits to doing so will be determined by the success
\nor failure of organized protests and demands for change that are
\ntaking place in Colorado and across the AFM.<\/p>\n
The AFM\u2019s willingness to go to the next step by confronting \u201cbusiness
\nunionism\u201d, if true, is a very long time coming because AFM media policies
\nhave been the standard-bearer of business unionism for 70 years.
\nDictionary.com defines business unionism as \u201cthe trade-union philosophy
\nand activity that concentrates on the improvement of wages, hours, working
\nconditions, etc., rather than on the general reform of the capitalistic system\u201d.
\nSadly, that is an exacting description of the AFM\u2019s flagship \u201cSound Recording
\nLabor Agreement (SRLA)\u201d which defines AFM media policy. The predecessor
\nto the SRLA \u2013 the Phonograph Record Labor Agreement \u2013 was established
\nin 1944 with Decca, Capitol, RCA and Columbia. Those four producers were
\narguably the only true players in the industry then, but today there are
\nthousands of legitimate record labels and independent producers while
\nonly seven producers are actually signed to the SRLA document today.
\nOthers may come and go, and typically sign for single projects when
\nthey do.<\/p>\n
Nonetheless, AFM members are led to believe that the 100-page SRLA
\nis an agreement with \u201cthe industry\u201d which therefore applies to any and
\nall competing companies from coast to coast, no matter how small.
\nA \u201cFavored Nations\u201d clause exists to this day in the SRLA that obligates
\nthe Federation to notify their signatory business partners if a more
\nfavorable deal is cut to anyone else. That little clause is an extraordinary
\ndeal for our capitalist business partners like Sony ($3 billion annual sales)
\nand Warner Brothers ($5 billion annual sales) and is quite possibly their
\nprimary motivation to keep these \u201cagreements\u201d in place. When President
\nHair publicly assails Lionsgate ($2.3 billion annual sales) for disregarding
\nAFM agreements, few are cheering him on more than the CEO\u2019s of Sony
\nand Warner Brothers. Observe the Clash of the Titans \u2013 \u201cthe few\u201d \u2013 who
\nalready command the upper percentile and remain determined to rule
\nthe world of media.<\/p>\n
How does this affect the great majority of AFM members who work in
\nan economy where the great majority of employer\/producers, i.e., \u201cthe
\nindustry\u201d may only be one-thousandth the size of Warner or Sony? Does
\n\u201cthe industry\u201d benefit when the titans establish and set terms for small
\nindependents?\u2028
\nOnly time will tell if our elected AFM leadership will stand up to these
\nmega-corporations and reject old business union habits so our union
\ncan truly serve the greater good. Early indications of change for the
\nbetter [or worse] will surely be found in President Hair\u2019s reference
\nto \u201cbrush fires.\u201d Will these members be welcomed and encouraged
\nfor the healthy debate and necessary change they bring, or not?<\/p>\n
================================<\/p>\n
III. EVENTS<\/p>\n
DEAN AND RICHARD<\/p>\n
DEAN AND RICHARD are now playing every third Friday
\nat Culver City Elks 7:30pm-10;30pm,
\n11160 Washington Pl.
\nCulver City, 90232
\n310-839-8891<\/p>\n
————————————-<\/p>\n
LA WINDS JAZZ KATS 584<\/p>\n
NO COVER, NO MINIMUM.
\nEvery 2nd and 4th Tuesday of the month at Viva Cantina
\n7:30-10:00.
\n900 Riverside Drive, Burbank.<\/p>\n
Free parking across the street at Pickwick Bowl.
\nCome hear your favorite charts played the way they
\nshould be. <\/p>\n
We are in the back room called the Trailside Room. <\/p>\n
Come on down. Guaranteed to swing.<\/p>\n
—————————————–<\/p>\n
2\/19,20,21\/16<\/p>\n
The EUROPEAN CONCERT TRIO
\n will present the premiere of Paul GIbson’s
\n“The Shepherd’s Lot”
\nin three February concerts.<\/p>\n
Harriet Fraser (soprano),
\nAmanda Walker (clarinet)
\nIrina Bazik (piano)<\/p>\n
Winners of the 2015 Beverly Hills National Auditions<\/p>\n
The European Concert Trio was formed in 2015 by
\nthree European-born, Los Angeles-based professional
\nartists, each having already established successful solo
\ncareers, to fulfill their passion for chamber music and
\nshare it with Southern California audiences.<\/p>\n
\u00a0<\/p>\n
Fri, FEB 19 \u2013 Encinitas \u2013 7:30pm
\nThe City of Encinitas presents
\nMusic by the Sea concert series
\nEncinitas Library
\n540 Cornish Drive
\nTickets: $13, plus fee. Purchase tickets in advance here.
\n\u00a0<\/p>\n
Sat, FEB 20 \u2013 Torrance \u2013 3pm
\nClassical Crossroads &
\nFirstServe Community Services present
\nThe Interludes concert series
\nFirst Lutheran Church & School
\n2900 W. Carson Street
\nTickets: FREE, donations appreciated. Information here.
\n\u00a0<\/p>\n
Sun, FEB 21 \u2013 Beverly Hills \u2013 2pm
\nMusic in the Mansion concert series
\nGreystone Mansion
\n905 Loma Vista Dr.
\nTickets: $20. Information here.<\/p>\n
————————-<\/p>\n
3\/20\/16<\/p>\n
PETER ERSKINE<\/p>\n
Legendary drummer Peter Erskine, reaching back
\nto his fusion and R&B playing with Weather Report,
\nunpacks a lost page of a song by Joe Zawinul, and
\nreleases a 21st century nod to Weather Report.<\/p>\n
Record Release Concert will be held Sunday,
\nMarch 20th, 2016 at the Moss Theatre,
\nSanta Monica, California.
\n\u00a0
\n“This is the album Weather Report might have
\nmade were the band members all still on this
\nearth now,” says Erskine. \u00a0<\/p>\n
Sunday March 20, 2016
\n\u00a0
\n3:00 pm
\nConversations with the Artists on-stage interviews<\/p>\n
4:00 pm Concert
\n\u00a0
\nPeter Erskine – drums
\nJohn Beasley – piano and keyboards
\nZanek Gwizdala – bass
\nBob Sheppard – sax
\n\u00a0
\nVENUE: MOSS Theatre: free parking, wheelchair accessible, all ages
\n3131 Olympic Blvd, Santa Monica, CA 90404
\n\u00a0
\nTICKETS: http:\/\/www.brownpapertickets.com\/event\/2489104<\/p>\n
INFO: april@musiciansatplay.org – 818-632-4868<\/p>\n
——————————————-<\/p>\n
3\/20\/16
\nLISA HALEY AND THE ZYDECATS
\n\u2028SUNDAY 3.20.16 HOLLYWOOD, CALIFORNIA – 4PM\u2028ASHGROVE AT THE IMPROV!\u20288162 Melrose Ave, Los Angeles, CA 90048\u2028Please join us for this special evening with the “New Ashgrove Players” \u2028Continuing the legacy of the “Historical Ashgrove Theatre!”\u2028\u201cIf\u201d we do well this first time here, they will continue to have Cajun & Zydeco!!\u2028Come on out Y\u2019all!!!!\u2028Tickets: http:\/\/hollywood.improv.com\/event.cfm?id=435277 \u2028or (323) 651-2583
\n—————————————–
\n2\/21\/16
\nSONGWRITERS WORKSHOP<\/p>\n
Come join three fantastic songwriters (and one mediocre host) at the upcoming Songwriter\u2019s Square \u2013 a music and storytelling show!<\/p>\n
Sunday Night, February 21st \u2028Doors open at 7:30PM, Show starts at 8:00PM. \u2028At the Lyric\/Hyperion Theater & Cafe. \u2028
\nThis month we feature:
\nGREGG SUTTON\u2028Songwriter (Joe Cocker, Percy Sledge, Maria McKee and more), music director for Andy Kaufman! Bassist for Bob Dylan! We will hear some incredible stories along with his great songs.\u2028\u2028JAMES LEE STANLEY\u2028The legendary folk singer returns to Songwriter’s Square. “One of the few all time greats and undisputed geniuses among singer-songwriters.” \u00a0FI Magazine. Great storyteller!\u2028\u2028PATRICIA BAHIA\u2028Fantastic feel good songs from the award winning writer! Patricia was nominated for two 2016 LA Music Critics Awards: Best CD Female; and Best Pop\/Rock Female Artist for her “Save Your Heart” CD.\u2028\u2028Sunday Night, February 21st \u2028Doors open at 7:30PM, Show starts at 8:00PM. \u2028At the Lyric\/Hyperion Theater & Cafe. \u20282106 Hyperion Avenue, Los Angeles, CA 90027\u2028$15 or $12 with discount code \u2018bill\u2019 CLICK HERE\u2028\u2028Come enjoy an intimate evening with some of the best songwriters in Los Angeles! The monthly showcase is hosted by BILL BERRY and features songwriters from country to cabaret, rock to folk and everything in between. Enjoy a glass of wine and dinner with your show. Free parking.
\nMore information at billberrymusic.com or at www.lyrichyperion.com.<\/p>\n
Thank you,
\n-Bill Berry<\/p>\n
—————————————–<\/p>\n
2\/21\/16 <\/p>\n
LA WINDS IN CONCERT! 1pm and 4pm<\/p>\n
Sunday February 21, 2015 \u20281:00 and 4:00 P.M.\u2028 \u2028Los Angeles Pierce College Performing Arts Building
\nSubscription Concert — “Stars of the Pierce College Symphonic Band”\u2028Our program will include the dazzling virtuosity of the Pierce Symphonic Band and some of it’s members.
\nMusic from Robin Hood – Erich Korngold,
\narranged by Member Robert Joles<\/p>\n
Vivaldi’s Piccolo Concerto in C with soloists – members Leslie Kearney and Juan Rivera<\/p>\n
I Have Found My Peace (Mov. II) by member Andrea Vancura<\/p>\n
Call to Arms by the SFVS’s own James Domine<\/p>\n
The 1st movement of Shostakovich’s Symphony #9.
\nTranscribed by member Charles Fernandez<\/p>\n
Windsor Processional by member Charles Fernandez<\/p>\n
On a Hymnsong of Philip Bliss by David R. Holsinger<\/p>\n
Washington Post March by NON-MEMBER John Philip Sousa<\/p>\n
—————————————–<\/p>\n
2\/24\/16<\/p>\n
Corbin Bowl and the San Fernando Valley Symphony Orchestra
\nPresent Concerts at the “Bowl” in the “Corbin Lounge”
\nWednesday Evenings at 7:30 pm<\/p>\n
February 24 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0
\nThe SymphoBlondiax
\nPerform music from baroque to contemporary\u00a0 by Bach, \u00a0Domine,\u00a0Vivaldi,\u00a0
\nTelemann, and others, featuring\u00a0James Domine,\u00a0guitar;\u00a0Ruth Bruegger,\u00a0
\nRuth Siegal, Carolyn Osborn, and\u00a0Florence Titmus, violin; Glenn Grab,
\n‘cello and Larry\u00a0Muradian, bass<\/p>\n
“Lounge” at the Corbin Bowl\u00a0
\n19616 Ventura Boulevard, Tarzana<\/p>\n
Free Admission\/ONE Drink Minimum
\nPersons under 21 years of age not admitted<\/p>\n
“CONCERTS”\u00a0ARE SUBJECT TO CHANGE WITHOUT NOTICE<\/p>\n
For photos of the performers and the latest schedule updates, go to:\u00a0
\nhttp:\/\/www.sfvsymphony.com\/concerts_at_the_bowl\/<\/p>\n
—————————————–<\/p>\n
\u00a0<\/p>\n
================================<\/p>\n
You can read all previous offerings at:http:\/\/www.responsible47.com
\nUNTIL NEXT TIME,
\nTHE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47<\/p>\n
\u00a0<\/p>\n
================================<\/p>\n
You can read all previous offerings at:
\nhttp:\/\/www.responsible47.com<\/p>\n
UNTIL NEXT TIME,
\nTHE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47<\/p>\n","protected":false},"excerpt":{"rendered":"
I. ELECTION BOARD NEWS II. COMMENTARY FROM ANOTHER LOCAL 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 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-155","post","type-post","status-publish","format-standard","hentry","category-committee-newsletters"],"_links":{"self":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/155","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=155"}],"version-history":[{"count":0,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/155\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=155"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=155"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=155"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}