{"id":286,"date":"2016-09-24T23:31:48","date_gmt":"2016-09-25T06:31:48","guid":{"rendered":"http:\/\/www.responsible47.com\/?p=286"},"modified":"2016-09-24T23:32:32","modified_gmt":"2016-09-25T06:32:32","slug":"commentary-fort-worth-events","status":"publish","type":"post","link":"http:\/\/www.responsible47.com\/?p=286","title":{"rendered":"COMMENTARY \/ FORT WORTH \/ EVENTS"},"content":{"rendered":"

9\/24\/16
\nI. MEMBER COMMENTARY
\nII. FORT WORTH MUSICIANS<\/p>\n

III. EVENTS<\/p>\n

 <\/p>\n

…Absolutely guaranteed anonymity – Former Musician’s Union officer<\/p>\n

…The one voice of reason in a sea of insanity – Nashville ‘first call’\u2028scoring musician<\/p>\n

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician<\/p>\n

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician
\n=============================================<\/p>\n

I. MEMBER COMMENTARY
\nThe recent RMA recruitment letter inspired one member to send in
\na commentary. You will find it below.
\n———–
\nWHAT RMA MEMBERSHIP $’S BUYS
\nA future you can depend on<\/p>\n

Recently described by the RMALA as the “NEW AFM” still embodies the
\n“OLD” RMALA, nothing has transformed for professional recording
\nmusicians in Los Angeles.<\/p>\n

What many “New” recording musicians don’t know yet, monies collected
\nfor membership on behalf of the RMALA, is used to defeat it’s own
\nmembership preventing opportunity to earn a career as a recording
\nmusician while spending your money to support and sustain their “inner
\ncircle” life style. Those who continue to advocate for the RMALA are the
\nones who have or still are benefiting from the system, a small portion of
\nthe total membership. This was calculated and intentional.<\/p>\n

Prior to the formation of the RMALA the recording musicians of Los
\nAngeles always had AFM representation as did New York musicians in
\nnegotiations. So why was it necessary for LA to form RMALA?<\/p>\n

Back during the transition to the RMALA there was a plan, only kept to
\nthose who would eventually benefit the most financially through creation
\nand support of a contractor’s most entrusted employees? They never
\nthought they could get away with it. It ultimately succeeded by “RMALA’s
\nentrusted employees”, removed most of the obstacles reducing the
\nworkforce and robustly removed barriers. They cleaned house and fooled
\neveryone by voting the RMALA line. Getting them to turn on the AFM. This
\nwas encouraged by a contractor who played into the hands of
\nmanagement to create a single orchestra supported by the RMALA
\nfounders to control a majority of work, eliminate studio contractors, take
\ncontrol over all MPTV contracts and reign in residuals to a relative few of
\nthe total RMALA work force. They abandoned the union principles while
\nbuilding walls to keep out everyone who got in their way while using
\nunion empowerment when it was to their advantage.<\/p>\n

Nothing has changed. RMALA continues to use the membership resources
\nto capitalize on as much residuals to the inner circle. Your money to the
\nRMALA with the help of persons who were behind this deliberate
\ntransformation of employment will be used again to strengthen their
\nposition to take whatever action they see fit to keep you from your
\nrecording career goals. It is now being passed on to the next generation.<\/p>\n

Membership dollars will also strengthen the RMALA resolve to continue to
\nbreach opportunity for all freelance recording musicians by keeping the
\nAFM out of RMALA’s business in L.A. to maintain dominance for the
\nRMALA inner circle.<\/p>\n

Your dollars also buys contractors that hire you. The RMALA inner circle
\ngot so use to being hired over everyone else by their contractor that
\nwhen their contractor retired they lost their grip and instituted other
\ncontractors to follow in a similar manner. You had to hire who was on the
\nRMALA inner circle list or you didn’t gainfully work as a contractor in LA.
\nThis was an implied condition with their contractors and the list they
\nwere provided.<\/p>\n

So what is the “NEW AFM” position?<\/p>\n

As long as we give the RMALA what they want the AFM continues to
\ncollect their monies from Los Angeles recording work. It doesn’t matter
\nwhether the inner circle are selected by the RMALA most of the time or
\nhundredths of individual musicians, the AFM still collect the same amount
\nof L47 recording money from the same work. You’ll may hear that there
\nwere thousand of jobs for musicians where in reality the inner circle was
\nused over and over again the ones who were the only recipients of most
\nwork, the ones who blindly supported the RMALA to enrich themselves.
\nEven if they disagreed with RMALA policy it worked to their favor to be
\nsilent. They did what they were told!<\/p>\n

What else does your membership money buy you?
\nRMALA classification “A”,”B”, or “C” orchestras!<\/p>\n

To make selling the RMALA inner circle, they presented themselves as the
\n“A” list. Since their contractor had direct access to producers when
\nbooking the ‘RMALA assigned\u00a0 “A” classification orchestra it was
\ndiscouraged to use any one but their orchestra or producers were
\ninstructed to record elsewhere that included and encouraged to record
\noutside of Los Angeles altogether rather then use another contractor or
\nhire another LA orchestra. What the RMALA “A” list employed was to
\npermanently eliminate and defeat competition to avoid diluting there over
\nscale musicians salaries when another orchestra could have provided the
\nproducers movies with the same quality performance.<\/p>\n

These techniques using letters purposely differentiated there imposed
\ninner circle from the rest of what they referred to as the B & C riff raft
\ninexperienced orchestras. These B, C orchestras were RMALA members,
\nthe very membership who they ask for your money to promote their inner
\ncircle desperate to remain relevant and first. Devised from a previous
\nmusic contractor and a close inner circle of employees were to undermine
\nemployment in Los Angeles, this became a very effective way of doing
\nbusiness. Most musician’s careers were directly affected leading to an end
\nof an era of freely hired union freelance recording musicians. Today is a
\nshadow of the past.<\/p>\n

The RMALA Players Conference is another debacle your dollars buy. Used
\nto solidify and represent working recording musicians RMALA is in reality
\na non-equal opportunity employer. Unless your talking about the inner
\ncircle repeatedly hired to deliberately keep from anyone gaining enough
\nmusical influence, voting eligibility on contracts endangering their
\nclaimed work, became RMALA’s way a self instituted “economic
\nprotectionism”. How else do you get the reputation of being the best? By
\ndefault, there’s no one to compete because the RMALA went out of his or
\nher way to keep the rest of the RMALA membership out of work or barely
\nworking. Many recording musicians lost their homes while the RMALA
\ninner circle bankrolled employment and residuals.<\/p>\n

So what else does your dollars buy? The RMALA even when they were told
\nto stay out of the sale of L47 building insisted to comment by RMALA’s
\npresident who implied at a L47 meeting and on sessions, that somehow,
\nyou may not get a work call from (RMALA’s) contractors, if you don’t vote!
\nAs we know now RMALA would have won either way you voted. Some may
\ncall this collaboration for benefits they will reap at a latter date, just
\nanother advantage to your contributed membership dollars.<\/p>\n

You can’t deny that the RMALA’s machine does everything it can do to
\nstrengthen there resolve to have good representation at the bargaining
\ntable, forcing the hand of AFM to doing exactly what it wants, to control
\nthe contractors, the MPTV contracts that control employment and
\nultimately keeps the vast majority of non-RMALA & RMALA freelance
\nrecording musicians from going anywhere near their inner circle
\nresiduals. Yet the International RMA President, a residual of the LA’s past,
\ncontinues to solidify this by maneuvering on there behave by keeping
\nmost of his regulars employed and why he remains in power. Other
\nunaware musicians are encouraged to continue to support the president
\nin order to sustain this elected officer.<\/p>\n

Your hard earned dollars also contribute to the RMALA’s cart blanche as a
\nmember of the Players Conference. Unfortunately they use the Player’s
\nConference status and behave in ways no other music player’s conference
\ndoes. The result brings the RMA legitimacy where there isn’t any.\u00a0 It’s
\nessential the RMALA have this status to justify the benefits and
\nrecognition it tries to emulate in order to sustain its overwhelming
\nrecording interests and dominance in LA.<\/p>\n

RMA Night is another add on to what your membership dollars buy where
\nthey will take anyone’s money for a ticket to the event to advance its self
\ninterests and remain financially relevant. Even lure composers where they
\nhave intentionally alienated from being union members so the inner circle
\ncan get their a larger share of residuals.<\/p>\n

Membership and RMA Night together has brought in millions of dollars
\nover its existence, how was this money spent? Are LA’s freelance
\nrecording musicians any better off today since the RMALA took control of
\nLos Angeles years ago? Their meddling in LA employment collectively
\ndecimated LA’s work force made possible by shortsightedness, self
\nimposed ignorance, greed, dictated by entitlement. A result\u00a0 that took
\nplace back in the 80″s making deals with management behind the AFM
\nand L47 back to advance their own inner circle agenda at the expense of
\ntheir membership.<\/p>\n

This is but a glimpse of what RMALA membership can buy. Undeniably a
\nreal investment into your future you can depend on!<\/p>\n

=======================================
\nII. FORT WORTH MUSICIANS
\nThis link is to an article about the ongoing struggles of the
\nFort Worth Symphony musicians.
\nWhat Went Wrong\u2026 with the Media\u2019s Discussion of the FWSO\u00a0Strike?
\nPosted on September 9, 2016<\/p>\n

http:\/\/tinyurl.com\/jgpzyq2<\/p>\n

=========================<\/p>\n

 <\/p>\n

III. EVENTS\u2028\u2028.<\/p>\n

DEAN AND RICHARD<\/p>\n

DEAN AND RICHARD are now at Culver City Elks<\/p>\n

the first \u2028Friday of every month.<\/p>\n

7:30pm-10;30pm<\/p>\n

11160 Washington Pl.<\/p>\n

Culver City, 90232<\/p>\n

310-839-8891<\/p>\n

————————————-<\/p>\n

LA WINDS JAZZ KATS 584<\/p>\n

NO COVER, NO MINIMUM.<\/p>\n

Every 2nd and 4th Tuesday of the month at Viva Cantina<\/p>\n

7:30-10:00.<\/p>\n

900 Riverside Drive,<\/p>\n

Burbank.<\/p>\n

Free parking across the street at Pickwick Bowl.<\/p>\n

Come hear your favorite charts played the way they<\/p>\n

should be. \u2028\u2028We are in the back room called the Trailside<\/p>\n

Room.<\/p>\n

Come on down. Guaranteed to swing.<\/p>\n

—————————————<\/p>\n

9\/30\/16<\/p>\n

THE FLAMENCO SESSIONS – AN EVENING OF FOOD & WINE,
\nMUSIC & DANCE<\/p>\n

Event to be held at the following time, date, and location:
\nFriday, September 30, 2016 from 7:00 PM to 10:00 PM (PDT)
\nSessions at the Loft\/The Wine Closet
\n2465 Ventura Blvd.
\n2423 Ventura Blvd.
\nCamarillo, CA 93010<\/p>\n

———————————–
\n10\/2\/16<\/p>\n

DON’T MISS THE
\nTHE PHIL NORMAN TENTET
\nPERFORMANCE OF
\n“THEN & NOW”<\/p>\n

Sunday, October 2nd
\n7:30 pm (doors open @ 6:00 pm)
\nCatalina Jazz Club
\n6725 Sunset Boulevard
\nHollywood, California 90028
\nReservations\u00a0call 323-466-2210<\/p>\n

Click this link to make a reservation online: Catalina Bar & Grill<\/p>\n

Remembering 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

10\/5\/16<\/p>\n

FREE ADMISSION GLENDALE NOON CONCERTS<\/p>\n

On Wednesday October 5, 2016 at 12:10-12:40 pm
\nthe Free Admission Glendale Noon Concerts will feature
\nViolinist Elbert Tsai and
\nPianist Jennie Jung<\/p>\n

in a program, \u201cThe Performer as Composer as Transcriber,\u201d
\nfeaturing works by Mozart, Kreisler and Mason Bates
\nat the Sanctuary of Glendale City Church,
\n610 E. California Ave. (at Isabel St), Glendale, CA 91206.
\nFor more information, email glendalesda@gmail.com
\nor call (818) 244- 7241.<\/p>\n

Elbert Tsai leads a multifaceted career as virtuoso violinist, sought-after pedagogue, and orchestral musician.\u00a0As a soloist, one of his musical missions is to revive the art of the virtuoso violin recital,\u00a0which celebrates the short showpieces and gems of the instrument\u2019s 450-year musical history. Since 2007, he has performed with the San Francisco Ballet orchestra and San Francisco Symphony, touring with the symphony domestically and to Europe and Asia. Elbert has taught violin and chamber music at Center Stage Strings,\u00a0the Luzerne Music Center, San Francisco Conservatory of Music, SFCM Pre-College Division, and the Crowden School. He holds degrees from University of Southern California, Rice University, and Oberlin College.<\/p><\/blockquote>\n


\nJennie Jung\u00a0made her debut with the Pittsburgh Symphony Orchestra at the age of eleven and has since been active as both a soloist and collaborator in North America. Dr. Jung has performed with the Republic of Tatarstan Symphony, Korean Philharmonic, Taejon Symphony, Korean-Canadian, University of Toronto, Hart House, and Cathedral Bluffs Symphony Orchestras. She has attended festivals including the Taubman Institute of Piano, the Banff Centre for the Arts, and the Music Academy of the West, Santa Barbara. As a collaborative pianist, Dr. Jung has performed in North America, Asia, Africa, and Europe, and has been on staff at the Mozarteum in Salzburg, Austria, Aspen Summer Music Festival, Gregor Piatigorsky Seminar for Cellists, and the Banff Centre for the Arts. Dr. Jung has participated in master classes and studied with artists such as Dalton Baldwin, Anne Epperson, Peter Frankl, Margo Garrett, Martin Katz, Anton Kuerti, Robert MacDonald, Karl Ulrich-Schnabel, and Arie Vardi.
\nDr. Jung is a member of the Jung Trio with her sisters Ellen (violin) and Julie (cello). The Jung Trio was the Grand Prize winner at the 2002 Yellow Springs Chamber Music Competition and was awarded the Bronze Medal at the 2002 Fischoff Chamber Music Competition. The Trio has attended numerous festivals and workshops, including the Great Lakes Chamber Music Festival, Norfolk Chamber Music Festival, the Orford Arts Centre Festival, and the Banff Centre for the Arts. Past performances include recitals in Korea, Los Angeles, New York, Philadelphia, Chicago, and Toronto, and a concert tour of Kenya and Mauritius as representatives of the Korean Kumho Cultural Foundation. The Jung Trio has performed Beethoven’s Triple Concerto with orchestras in Russia, Korea, Toronto, and Los Angeles. Their recording of Dvo\u0159\u00e1k\u2019s Piano Trio in F Minor was recently released by the Groovenote Label on LP and SACD. In 2009, the Trio made its European debut in Berlin, Germany, and at the Mozarteum in Salzburg, Austria. In October, 2009, the Trio presented its second benefit concert for the Susan G. Komen for the Cure, and in March, 2010, organizedPromise for Haiti, a concert raising funds for Promise Child and its Haiti mission.
\nDr. Jung has received degrees from the University of Toronto, Yale University, and The Juilliard School. She maintains a private piano studio and is on faculty at the Claremont Graduate University, Pomona College, and the Colburn Community School of Performing Arts.<\/p>\n

——————————–<\/p>\n

10\/19\/16<\/p>\n

 <\/p>\n

SFV Symphony Orchestra \u2028\u00a0\u2028Nov. 19, 2016 \u2013 Agoura Hills\/Calabasas Community Center<\/p>\n

Bizet: Carmen Suite #1\u2028Bizet: Symphony in C major<\/p>\n

Fernandez: Oboe Concerto\u2028 – Francisco Castillo, oboist<\/p>\n

Sibelius: Violin Concerto in D minor, 1st mvt.\u2028 Thompson Wang, violinist<\/p>\n

Contact: Roberta Hoffman, publicist (ladybirdysue@aol.com)<\/p>\n

www.sfvsymphony.com<\/p>\n

++++++++++++++++++++++++++++<\/p>\n

Other concerts in the series\u2028\u2028:<\/p>\n

 <\/p>\n

Jan. 21, 2017 \u2013 Tutor Family Center at Chaminade West Hills<\/p>\n

Schumann: Manfred Overture<\/p>\n

Mendelssohn: Symphony #3 in A minor (Scottish)<\/p>\n

Belling: Music Madly Makes the World Go Round<\/p>\n

Inaugural Performance<\/p>\n

Cary Belling, violinist<\/p>\n

 <\/p>\n

Mar. 18, 2017 \u2013 Agoura Hills\/Calabasas Community Center<\/p>\n

Tuttle: By Steam or By Dream Overture<\/p>\n

Inaugural Performance<\/p>\n

Prokofiev: Symphony #1 in D major (Classical)<\/p>\n

Ben-Haim: Pastorale Vari\u00e9e for Clarinet, Harp and Strings<\/p>\n

Geoff Nudell, clarinetist<\/p>\n

Beethoven: Romance for Violin and Orchestra<\/p>\n

Domine: Frankenstein Fantasy\u2028 – Ruth Bruegger, violinist<\/p>\n

 <\/p>\n

May 13, 2017 \u2013 Agoura Hills\/Calabasas Community Center<\/p>\n

Saint-Saens: Bacchanale from \u201cSamson and Delilah\u201d<\/p>\n

Tchaikovsky:\u00a0Orchestral Suite No. 2 in C major<\/p>\n

Egizi: Orchestral Suite \u201cIn Memoria di Mio Padre”<\/p>\n

Inaugural Performance<\/p>\n

Programs subject to change<\/p>\n

 <\/p>\n

———————————–<\/p>\n

You can read all previous offerings at:http:\/\/www.responsible47.com\u2028\u2028UNTIL NEXT TIME,\u2028THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47<\/p>\n","protected":false},"excerpt":{"rendered":"

9\/24\/16 I. MEMBER COMMENTARY II. FORT WORTH MUSICIANS III. EVENTS   …Absolutely guaranteed anonymity – Former Musician’s Union officer …The one voice of reason in a sea of insanity – Nashville ‘first call’\u2028scoring musician …Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician …Reporting issues the Musicians Union doesn’t dare […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-286","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/286","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=286"}],"version-history":[{"count":0,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/286\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=286"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=286"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=286"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}