6\/25\/16<\/p>\n
I) A MESSAGE FROM CHARLES FERNANDEZ RE: RESOLUTION 4
\nII) AFM NORTHERN CALIFORNIA MEMBER COMMENT
\nIII) OTHER VIEWS OF THE PROBLEM
\nIV) MEMBER COMMENTS
\nV. 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) A MESSAGE FROM CHARLES FERNANDEZ RE: RESOLUTION 4<\/p>\n
There has been much Sturm und Drang by a couple of posters on
\nFacebook about the first paragraphs of the Resolution 4 report,
\nbefore the detailed history of the RMA.<\/p>\n
Here, again is exactly what was written by me to include at the
\nbeginning of the report:<\/p>\n
“Long time AFM and Local 47 member Charles Fernandez attended
\nthe convention with the intention of speaking in support of the
\nresolution.” [TRUE]<\/p>\n
“Unfortunately, Member Fernandez was not informed as to when the
\ncommittee would discuss Resolution 4, so was NOT IN ATTENDANCE
\nWHEN IT WAS. (True) Whether this was by design, or accidental,
\nwe don’t know. We do, however, know that member Fernandez
\nwas not allowed to speak on the floor of the convention,…”<\/p>\n
[Since I was not there on Monday I did not hear the “Guests Shalt
\nNot Speak On The Convention Floor” speech. When they called for
\ndebate, I went to a microphone, was told by a person in control
\nof the mikes that I could not speak, I said ok, and sat down.
\nThat is the long and short of it.]<\/p>\n
“…though he was told he could speak to the committee before the
\ndecision.”<\/p>\n
[This is true, I could have spoken to the committee in their meeting,
\nnot, as it turns out, on the convention floor, something I found out<\/p>\n
at that moment.]<\/p>\n
“In other words, the committee made the decision without allowing
\nsupport expressed for the resolution,… [As I was told later, someone
\nactually DID speak in favor, so here I was wrong. Cudos to them!]”<\/p>\n
“…while no doubt the RMA was there to influence the committee and
\na decision was made as to it’s fate without any feedback from those
\nwho wrote the resolution.”<\/p>\n
[This also is true, no one from Local 300 spoke in favor, nor did I,
\nsince I was not there.]……..<\/p>\n
This is the tempest in a teapot those who posted on Facebook were
\ntalking about… Nothing more, nothing less.<\/p>\n
They of course, could not fault anything that came after….. just saying’.<\/p>\n
Moving on…..<\/p>\n
THE RESOLUTION<\/p>\n
Neither I nor anyone from a brave, VERY brave Local 300 had any
\ndelusions that Resolution 4 would pass, in fact, we knew it didn’t
\nhave a chance in hell of passing, but that wasn’t the point.<\/p>\n
The point was to get the subject of buyouts into the zeitgeist of
\nthe convention floor, the federation and all present. I also assume that
\nmany knew nothing of the problems presented before this resolution.<\/p>\n
Why Local 300? This resolution would never have seen the light of
\nday at Local 47 nor would any California Local have the guts
\n(In only my opinion) to present it. The long standing and well
\nregarded president of Local 300 had no qualms about having his
\nlocal back it, because in discussions with fellow presidents,
\nlocals and musicians across the federation the destruction of
\nthe industry was clear, as is it’s source.<\/p>\n
He, his officers and his board did a wonderful job of finalizing
\nthe resolution. They deserve major kudos from all rank and
\nfile for bringing up what has needed to be said for a long, long
\ntime.<\/p>\n
BRAVO TO THEM on behalf of all rank and file members.<\/p>\n
After all the talk on the convention floor about how the AFM is
\nsuch a democratic organization and open to all voices, I have
\nheard that folks from Local 300 are facing retaliation from
\nthe AFM. If this is true I can only say it’s a total dick move by
\nPresident Hair and undeserved by the few that will speak up.<\/p>\n
LIKE IT OR NOT<\/p>\n
Like it or not, it’s not a matter of IF buyouts will become a reality,
\nit’s a matter of WHEN. In fact they already are. There are no fewer
\nthan three organizations just in Los Angeles ready and able to
\nprovide the service. The sooner the Federation realizes this the
\nmore people we can get back to work with union recording.<\/p>\n
In the last few weeks I have visited three studios (big and Bigger).
\nWhen asked how the business was going, all said it could be better,
\nbut that it was ok. When asked how much of it was union,
\nthey all said virtually none.<\/p>\n
So the sessions are happening, just not AFM, and as of now
\na majority of musicians, including some on the board of
\nLocal 47 are willing to do dark dates. There is simply no
\nother way for them to pay their bills and their mortgages.<\/p>\n
THE REST OF THE CONVENTION (on the bright side)<\/p>\n
With the exception of the recording area, the AFM seemed
\nto be doing some good work, particularly for orchestras<\/p>\n
All the committees I heard seemed to be committed to
\nfull disclosure and the reports were excellent.<\/p>\n
Of the things I heard, the most important was working for
\npay parity for orchestral subs in professional orchestras.<\/p>\n
There was a change made to have it include ALL orchestras
\nfull time or not, and I think that passed.<\/p>\n
It brought up a good question:<\/p>\n
Do you know whether you are being paid the same as tenured or
\nfull time orchestra members when you sub with them? You
\nshould find out.<\/p>\n
Why would an orchestra even ponder not paying musicians the
\nsame for the same job? It boggles the mind.<\/p>\n
FAIR TRADE MUSIC<\/p>\n
There was also a presentation on FAIR TRADE MUSIC.<\/p>\n
According to someone from the Seattle Local. It has been very
\neffective in Seattle at banding freelance musicians and groups
\ntogether to work for better working conditions from club owners
\nand the like. Nice to know they’re trying to look out for the
\nfreelance musicians.<\/p>\n
You can check it out here:
\nhttp:\/\/tinyurl.com\/glnw2zj<\/p>\n
Slightly smart-ass trivia:
\nOf all the bling handed out at the convention, most of it was
\nmade in China. Someone in attendance supposed they were
\ntrying to save money. Oh, the irony.<\/p>\n
===================================<\/p>\n
II) AFM NORTHERN CALIFORNIA MEMBER COMMENT<\/p>\n
CONVENTION<\/p>\n
A transformation like never in union history saw the formation of the
\nRMALA, freelance musicians as they referred to themselves, resurrected
\nin the 1980’s managed by a group of people from within the group,
\nencouraged and supported a process of manipulation of free enterprise
\nto eventually displace 100ths of recording union musicians and music
\nprep while at the same time undermined local 47 creating a monopoly to
\nultimately capture a majority of the recording LA market translating into a
\nwindfall of residuals it provided them.<\/p>\n
So caught up in their scheme they lost focus placing emphasis on
\nprotecting there self-righteous interests including using there leverage to
\ndeliberately keep the AFM out of LA so to flourish by allowing no one to
\nget in their way to maintain a corrupt control dictating over union
\nrecording musicians livelihoods.<\/p>\n
By RMALA’s failure to adapt, due to their self-righteous calculated
\nmaneuvers from within the RMALA, they managed to eliminate most of
\nthe recording work from within Los Angeles.<\/p>\n
As long as this organization continues, in its past or present form, will
\nonce again curtail professional recording union musicians careers and
\ndamage opportunities for local 47 and the AFM to generate membership
\nand work dues. Under a misaligned veil of authority, using the title
\n“Players Conference” will again dominate by imposing their short
\nsightedness and self-imposed work opportunities with the only purpose
\nto provide residuals beyond any ones imagination to a relative few.<\/p>\n
The AFM has to consider whether they want defiance by those who see
\nthrough RMALA’s past establishing a permanent Non-Union presence in
\nthe recoding field by allowing the RMALA twisted control and misused
\n“Players Conference title” to continue unabated into the future or remove
\nthe RMALA all together.<\/p>\n
======================================<\/p>\n
III) OTHER VIEWS OF THE PROBLEM<\/p>\n
A COMPOSERS VIEW: this is from the early ought\u2019s 2006-7
\nI am a composer I live in LA and usually record here.<\/p>\n
Recently, I had\u2028to do budgets for a 60 piece orchestra. I chose to<\/p>\n
shop around. I\u2028 chose to look at LA, Budapest, Prague, Phoenix,<\/p>\n
Utah and Seattle. I\u2028have about $25,000 to spend as a<\/p>\n
music budget for recording – not\u2028including mixing, copyist,<\/p>\n
conductor, engineer, room, catering, cartage and whatever the<\/p>\n
heck else comes up.<\/p>\n
In order to get the kind of sound I want, I need to do overdubs along
\nwith sampler pre-records. The LA Union doesn\u2019t allow overdubs as
\nfar as I know unless you pay a fee. I need a buyout. The LA Union
\ndoes not offer a buyout.
\nAll the other orchestras offer a buyout and overdubs at no charge.<\/p>\n
I\u2028 could hire a 40 pieces in Budapest with travel and all other costs
\n(not including mixing, copyist, conductor, engineer, room, catering,
\ncartage and whatever the heck else comes up. ) for $23,000 with
\noverdubs and a buyout leaving me $2,000 to mix as well as a short
\nvacation in Hungary.
\nSeattle gave me a quote that was out of line, Prague still looks\u2028good, Utah still hasn\u2019t got back to me, Phoenix is just a bit more
\nthan Budapest and LA wants about 50% more than anyone else
\n+ back end.<\/p>\n
Look, I love the LA Musicians. I have been educated and know
\nwhat the options are. But I have to work with-in a budget and
\nI refuse to go out of pocket like I have so many times in the
\npast. I need to get paid too – I mean heck I am writing the music.
\nPlus with the explosion of cable networks, the smaller networks
\nand production companies doing stuff on a shoestring budget,
\nsamplers, reality TV using libraries of mainly synth recorded
\nstuff and falling TV viewer-ship (Video Games, Internet and
\nmaybe just maybe people actually turning off the tube and
\nhaving a life) it is no wonder that budgets have fallen.<\/p>\n
Composers have no union, we are mercenaries and therefore
\nwe get squeezed. We want to score projects and some we are
\neven willing to do for free if it has a chance of either training
\nus or being good for our reel. This lowers our value in the eyes
\nof our prospective employers even though they can\u2019t really pay
\nus and it lowers the amount of musicians we can hire.<\/p>\n
For the A-List Composers there will always be the A-List\u2028Directors<\/p>\n
\/Producers who are willing to pay more. There
\nmay always be the golden 150 players in town that get the
\nchoice gigs, but then again many of those gigs are going
\nto the LSO. For those of us who are trying to get to A-list
\nland: Directors, Producers, Composers and the like, we have
\nto claw our way up. Even the big studios, TV Production
\ncompanies and ad agencies are seeing their revenues decline.<\/p>\n
And you know how crap rolls downhill.<\/p>\n
We are now in the midst of taking a look at the big picture of<\/p>\n
economics 101 and seeing supply and demand in action.
\nTechnology has become cheaper, it continues to evolve making
\nmany live music applications unnecessary. We used to hire
\nlarge ensembles, now we do pre-records with a small group
\nof live musicians. In the Future it might be 1 or 2 musicians
\nfor overdubs. Theaters are running off of CD\u2019s of sequenced
\nmusic, because it is cheaper to do that than hire a music director
\nand an orchestra. The current generation has seen more DJ\u2019s
\nthan live musicians and that plays a huge part.
\nTechnology has made it such that you can be a composer just
\nAbout anywhere, as long as you can gain the trust of the
\ndirector\/producer and fly out to record if you need to. We
\nlive in a global economy.
\nThe playing field is leveling. And as Charles Darwin pointed<\/p>\n
out -\u2028life is a game of Survival of the Fittest. Sooner or later<\/p>\n
the shake\u2028down will happen if it hasn\u2019t already. Will you adapt<\/p>\n
or not? There\u2028are others who are adapting and those are the<\/p>\n
ones who will get t he work. Consumers are demanding cheap<\/p>\n
prices across the board. Look at Wal-Mart. Consumers in our<\/p>\n
profession are called Producers (The ones that pay the bills).<\/p>\n
They are demanding we create with smaller and smaller budgets.
\nIf I can go somewhere and get what I need without the hassle,
\nwhy should I stay?<\/p>\n
My most recent producer looked me in the eye straight faced and asked
\n\u201cWhat is really the point of paying more money to get the same product?\u201d<\/p>\n
—————————————<\/p>\n
A VIDEO GAME COMPOSERS VIEW
\nVideogame production. Videogames are a global market with publishers
\nand developers worldwide. There are no package deals for composers in
\nthe videogame industry, just a reasonably stable composer\u2019s fee plus
\nseparate budgets for live musicians, studios, etc. The composers,
\npublishers, and game developers in this industry are big advocates of
\nusing world-class musicians. There is currently a very liberal AFM
\nagreement for videogames on the books and in use by myself and others
\nin the industry. It includes a buyout among other provisions and big
\npublishers like EA, Ubisoft, Vivendi-Universal are doing sessions here.<\/p>\n
We all know plenty of world-class musicians who aren\u2019t on the A-list
\nfor some of the busy contractors and this wording separates these
\nfine talents with the select few that have able to fit within the politics
\nof the way these contractors do business<\/p>\n
For those of you who are part of this \u201cA-list\u201d,
\nI\u2019d like to remind you that although you are a powerful and
\nwell-organized group in how you vote within the union,
\nyou are still a minority and the inevitable moment when the
\nmajority of the union is fed up with your inability to listen,
\nthat\u2019s the moment when the revolution will commence and
\nyou will be ignored for the betterment of the 99%<\/p>\n
—————————————<\/p>\n
A NASHVILLE MUSICIAN\u2019S VIEW (From 2008)<\/p>\n
Despite herculean efforts by Local 257 and National AFM (and
\nthe RMA folks who control them), they have not been successful
\nin the slightest with stopping our non-union work here. Matter
\nof fact, it is growing. I could write a book on all the dirty tricks
\nthey have tried but it has only strengthen everyone’s resolve here.<\/p>\n
Our work continues to grow as more and more composers and
\ncompanies come out here to record their scores (a lot more than
\njust Sony PlayStation). Our situation is a lot different than what
\nyou have out there. All of us ARE the first call players and we
\nare all in this together. 99% of the Orchestral Recording musicians
\nsupport what Nashville Music Scoring is doing here and are glad
\nto have the work.
\nNo worries of “blackballing” or other issues. No studios that
\nwon’t let you record there.<\/p>\n
No other “unions” that will engage in a secondary boycott<\/p>\n
against us.<\/p>\n
Matter of fact, l work “Union” sessions every week and still get
\npension and special payments contributions, reuse, etc. Only
\nnow, since I left the union, I can work union and non-union sessions
\nwithout any fear of fines or other repercussions. Why more people
\ndon’t do this is beyond my comprehension. I know the Local is
\nthrilled with processing all the checks they receive for me, but
\nthere is nothing they can do about it.<\/p>\n
The union has called Nashville Music\u00a0Scoring “scabs”, warned
\nthat anyone who works for us will be fined $50,000 and kicked
\nout of the Union, and has depicted me as the devil, but if you
\nsk the players, they are thankful that someone had the “balls’
\nto stand up to the AFM (and RMA) and was successful in bringing
\na lot of good work here for a lot of people and they are happy to
\nget the work.<\/p>\n
We are all just musicians trying to make a living and are tired
\nof being told what we can and cannot do while we watch all
\nthe work go to Europe. The world has changed and you can
\neither change or find another line of work. There are a lot of
\ngreat musicians in LA an SF but there are also a lot of great
\nmusicians in Nashville, London, Prague, etc.<\/p>\n
We refuse to just sit by and do nothing while the AFM chases
\nall of the work away.<\/p>\n
Keep fighting the good fight!<\/p>\n
—————————————<\/p>\n
A VIEW FROM A COPYIST\/PLAYER
\nI used to work full time as a copyist for TV and film. I have watched<\/p>\n
my living simply evaporate. I have had to find other ways of making<\/p>\n
money and it isn\u2019t easy. I have had no help from the AFM and local
\n47, as a matter of fact they seem to be more of an obstacle than
\nanything else.<\/p>\n
Watching the amount of work dry up year after year, it would seem
\nthat something really radical has to be done if there is any hope
\nof keeping a music industry going in this town, or at least a
\nrecording industry.<\/p>\n
It seems to me like the leadership of the RMA locally is in
\nserious denial about the threat to its very existence.<\/p>\n
I think we\u2019re simply rearranging deck chairs on the Titanic.
\nI think ultimately this is just busy work in the final years of
\nour industry.<\/p>\n
It\u2019s not going to bring any measurable increase in work to
\nthe masses here, it\u2019s only going to mean more work for
\nthe small list of yo cats. We saw this happen when the
\nlow budget agreements were adopted. Sandy\u2019s crowd
\nfought those rates, but now they\u2019re the ones accepting
\nthat work, and complaining about it while they do so!
\nWhen I get a call from Dateline, practically the first words
\nout of their mouth are an apology for the low rate or
\nnegotiated agreement involved. But I see the biggest
\nnames in the business on those sessions.<\/p>\n
======================================<\/p>\n
IV. MEMBER COMMENTS<\/p>\n
We are never gonna get rid of them unless folks just plain ole stop
\nhiring them and have their money run out – good luck on that –
\nhasn’t happened yet – all contractors would have to choose non
\nRMA players – this whole mess has ruined it musically and spiritually
\nfor me – has for many years.<\/p>\n
———————————-<\/p>\n
Great, comprehensive stuff re: the insidious RMA.<\/p>\n
———————————-<\/p>\n
“Long time AFM and Local 47 member Charles Fernandez attended
\nthe convention with the intention of speaking in support of the
\nresolution.<\/p>\n
“Unfortunately, Member Fernandez was not informed as to when the
\ncommittee would discuss Resolution 4, so was not in attendance
\nwhen it was. . . . and a decision was made as to it\u2019s
\nfate without any feedback from those who wrote the resolution.”<\/p>\n
Well, *that’s* interesting. So it was Chas wrote the resolution,
\nnot Local 300! Huh. The right to submit resolutions only belongs
\nto delegates, conferences and locals. That’s a pretty underhanded
\ntechnique, enticing a local to shill for him.<\/p>\n
[EC: Actually member Fernandez had a role in it’s writing, but
\ndid not write the entire resolution, he worked with the Local to
\ncraft it. Nice try though.]<\/p>\n
———————————-<\/p>\n
So Chuck was late to the gig, I guess.<\/p>\n
\n======================================<\/p>\n
V. EVENTS<\/p>\n
DEAN AND RICHARD<\/p>\n
DEAN AND RICHARD are now at Culver City Elks the first
\nFriday of every month.
\n7:30pm-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
AUDITIONS FOR CALSTATELA SYMPHONY<\/p>\n
Please pass the word that the annual auditions for the CalStateLA
\nSymphony Orchestra\/Olympia Youth Orchestra for the 2016-2017 season
\nwill begin in June through mid August immediately after the season is
\nover.<\/p>\n
Qualified students may submit the form on line at the website
\nhttp:\/\/www.olympiaphil.org<\/p>\n
under “youth orchestra”.<\/p>\n
I will be in touch to set up a time during the summer. The next
\nseason begins late September of this year through early June of 2017.<\/p>\n
The orchestra consists of talented students age 12 through college
\nage. Rehearsals are at CSULA on Sundays at 4:30-7PM. Tuition is $650
\nfor the entire year. Scholarship is available on a need or merit
\nbasis depending on instrument and individual student. The orchestra
\nstudents will also be able to take optional transferable college
\ncredits from CSULA, perform with college music students in 4 on and
\noff campus concerts.<\/p>\n
This is a great orchestra with lots of talented students taking part.
\nI look forward to hearing from students learning all orchestral
\ninstruments.<\/p>\n
Thank you!<\/p>\n
Fung Ho
\nMusic Director & Conductor
\nCalStateLA Symphony Orchestra\/Olympia Youth Orchestra<\/p>\n
—————————
\n6\/14\/16<\/p>\n
The Orchestre Surreal<\/p>\n
Featuring:\u2028Elvis Schoenberg\u2028Dangerous Dan O’Callaghan<\/p>\n
The Fabulous Miss Thing\u2028and\u2028Los Angeles’s Most Notorious Musicians<\/p>\n
at<\/p>\n
Typhoon\u2028LA’s Most\u00a0Hip Pan Asian Restaurant.<\/p>\n
Tuesday June 14th
\none set<\/p>\n
7:30-9:00<\/p>\n
A Special Event Show<\/p>\n
Among our usual mashups and
\ngenre bending arrangements
\nWe will be performing
\na special Tribute to<\/p>\n
Keith Emerson.
\nOn the program:
\ntwo of Keith’s\u00a0rarely heard orchestral works,
\nGlorietta Pass and After All Of This
\nalso a piece that Keith\u00a0conceived that was written for him and the
\nOrchestre Surreal. Pacific\u00a0Honky Tonk 231 Blues
\nplus\u00a0orchestral versions of ELP tunes.<\/p>\n
———————————————
\n6\/15\/16<\/p>\n
CONCERTS AT THE “BOWL”<\/p>\n
The Corbin Bowl and San Fernando Valley Symphony Orchestra
\nPresent Concerts at the “Bowl” in the “Corbin Lounge”
\nWednesday Evenings at 7:30 pm<\/p>\n
June 15
\nThe Screaming Clams
\nRock ‘n’ Roll with music of the ’60s and\u00a0early\u00a0’70s, featuring
\nJimi Dee, lead quitar and vocals; Joel Domine, keys and guitar;
\nLarry Muradian, bass; Nick Scarmack, drummer and Rebecca Ray,
\nvocalist extraordinaire<\/p>\n
+++++++++++++++++++++++++++++++<\/p>\n
OTHER CONCERTS IN THE SERIES<\/p>\n
June 22<\/p>\n
The Blues Bandits
\nPlay and sing the “Blues,” featuring\u00a0David Reo, guitar and vocals; Jimi Dee,
\nguitar and vocals; Larry Muradian, bass and Chuck Burkinshaw, drums<\/p>\n
June 29
\nThe Screaming Clams, part 2
\nRock ‘n’ Roll with music of the ’60s and\u00a0early\u00a0’70s, featuring
\nJimi Dee, lead quitar and vocals; Joel Domine, keys and guitar;
\nLarry Muradian, bass; Nick Scarmack, drummer and Rebecca Ray,
\nvocalist extraordinaire<\/p>\n
“Lounge” at the Corbin Bowl
\n19616 Ventura Boulevard, Tarzana<\/p>\n
Free Admission\/ONE Drink Minimum
\nPersons under 21 years of age not admitted<\/p>\n
——————————————
\n6\/15\/16
\nTHIS WEDNESDAY\u00a0June 15
\nThe BBB\u00a0\u00a0featuring Bernie Dresel returns for
\nthe first time since our live recording
\nto<\/p>\n
Joe’s Great American Bar & Grill\u00a0\u00a0in Burbank
\nfrom \u00a08:30pm-11:15pm
\nNO COVER CHARGE!!
\nNo reservations\u00a0necessary!!
\n21 and older
\n4311 W. Magnolia Blvd.
\nBurbank, CA 91505
\n6\/26\/16
\n——————————————
\nDear Doctor Wu Fans,<\/p>\n
We will be appearing at the\u00a0Santa Monica Endless Summer
\nSOULstice Festival on Sunday, June 26th 2016 from 5:00 to 7:00
\nPM, where we will play two sets of your favorite Steely Dan tunes.
\nPlease bring your friends along\u00a0and enjoy a great time with us!<\/p>\n
Edgemar Courtyard
\n2440 Main Street
\nSanta Monica, CA 90405
\n5:00 – 7:00 PM<\/p>\n
We hope to see you there!<\/p>\n
The Doctor Wu Band
\nhttp:\/\/www.doctorwuband.com\/
\nhttps:\/\/www.facebook.com\/doctorwuband<\/p>\n
—————————————-
\n6\/27\/16
\nMusic at Westwood presents
\nMARIA NEWMAN’S
\nREQUIEM
\nMissa Mortem Da Pacem
\nMass for Peace<\/p>\n
Join us for an extraordinary evening of music with
\nWestwood Master Choir and Soloists
\nwith the
\nWestwood Chamber Orchestra<\/p>\n
June 26th at 5pm<\/p>\n
Westwood Presbyterian Church
\n10822 Wilshire Blvd
\nLos Angeles, CA 90024<\/p>\n
—————————————–
\n7\/31\/16
\nTHE PHIL NORMAN TENTET
\nOne of the best bands today playing in the tradition of
\ncool West Coast Jazz<\/p>\n
Sunday Evening July 31 – 7:30pm<\/p>\n
Vibrato Grill Jazz
\n2930 Beverly Glen Circle
\nLos Angeles, CA.90077
\nReservations call 310-474-9400<\/p>\n
Don’t miss their performance of\u00a0“THEN & NOW”
\nRemembering the classic sounds & variations of
\n12 jazz legends to include:<\/p>\n
The George Shearing Quintet
\nThe Dave Brubeck Quartet
\nThe Modern Jazz Quartet
\nThe Cal Tjader Quintet
\nThe Ahmad Jamal Trio
\nMiles, Dizzy and more<\/p>\n
——————————–<\/p>\n
MASTER IN FILM MUSIC APPLICATIONS STILL BEING ACCEPTED<\/p>\n
The Pacific Northwest Film Scoring Program
\nAt The
\nSeattle Film Institute<\/p>\n
is still accepting applications to the One year<\/p>\n
Master of Music (MM) in Film Composition<\/p>\n
Recently rated as the #4 school for film scoring education
\nin the world by Music School Central and the #2 school
\nfor earning a Masters of Music degree in Film Composition<\/p>\n
Study with program creator and lead instructor<\/p>\n
Hummie Mann<\/p>\n
2 Time Emmy Award Winning film composer of
\n“Robin Hood: Men in Tights” and featured in
\nVariety Magazine’s article “Leaders in Learning”<\/p>\n
Click here to listen and watch student scores from previous years<\/p>\n
Applications are now being accepted for the 2016
\nschool year We offer rolling admissions – applying
\nearly is recommended Scholarship support is
\navailable to early applicants<\/p>\n
================================<\/p>\n
You can read all previous offerings at:http:\/\/www.responsible47.com<\/p>\n
UNTIL NEXT TIME,
\nTHE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47<\/p>\n","protected":false},"excerpt":{"rendered":"
6\/25\/16 I) A MESSAGE FROM CHARLES FERNANDEZ RE: RESOLUTION 4 II) AFM NORTHERN CALIFORNIA MEMBER COMMENT III) OTHER VIEWS OF THE PROBLEM 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 […]<\/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-213","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\/213","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=213"}],"version-history":[{"count":0,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/213\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=213"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=213"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=213"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}