<\/p>\n
2\/16\/18<\/p>\n
<\/p>\n
I. L. A. PHIL REATURED IN OSCAR PERFORMANCE
\nII. PARAMOUNT’S MUSIC MUSIC CLAIMS
\nIII. MEMBER COMMENT
\nIV. EVENTS<\/p>\n
…Absolutely guaranteed anonymity – Former Musician’s Union officer
\n‘
\n…The one voice of reason in a sea of insanity – Nashville ‘first call’\u2028scoring musician
\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<\/p>\n
<\/p>\n
================================<\/p>\n
I. L.A. Phil Plans Centennial Season Featuring Oscar Performance<\/p>\n
[We’ll bet the RMAers aren’t happy about this!]<\/p>\n
The orchestra kicks off its 100th year in September with an 11-day
\nL.A. Fest, featuring Herbie Hancock and more, and will perform
\nlive at the 2019 Academy Awards, commemorating its
\n“intertwined” relationship with film.<\/p>\n
Last year marked the 90th anniversary of the Academy
\nof Motion Picture Arts and Sciences, and 2019 will see
\nthe 90th\u00a0Academy Awards as well as the 100th
\nanniversary of the Los Angeles Philharmonic.
\nIt only makes sense that these two Los Angeles
\ninstitutions should celebrate together.<\/p>\n
The Phil is planning to commemorate its 100th with a
\nseason packed full of surprises, excitement and the
\nfruits of a blossoming relationship with the Academy,
\nculminating in the news that the L.A. Philharmonic,
\nled by music director Gustavo Dudamel, will be
\nfeatured on 2019\u2019s live Oscar broadcast.<\/p>\n
\u201cIf you look at our centennial season, it really is the
\nmanifestation of the belief that an orchestra is this
\norganism that adapts and tries to find audiences in
\nplaces where orchestral music lives,\u201d says L.A.
\nPhil COO Chad Smith. \u201cSo we\u2019re commissioning
\n[over 50] new works from significant composers
\nfrom all around the world, and playing major works
\nfrom the past three or 400 years, but more importantly,
\nwe\u2019re trying to find artists or organizations or ideas
\nthat we can engage with that are outside the
\nnormal activity of an orchestra.\u201d<\/p>\n
Part of that engagement again comes from AMPAS,
\nwhich entered a three-year partnership with the Phil
\nfor the 2016-17 season. \u201cI was at an event a couple
\nof years ago with Dawn Hudson, and she said,
\n\u2018We should think about doing something together,\u2019\u201d
\nrecalls Smith. \u201cI thought that was a really extraordinary
\ngesture and one that we jumped at.\u201d<\/p>\n
One act in that partnership will be \u00a0\u201cThe Oscar Concert\u201d
\non Feb. 28 at the Walt Disney Concert Hall, where
\nAcademy Governors and composers Michael Giacchino
\n(Up, Zootopia, Coco), Laura Karpman (two-time Emmy
\nnominee) and Charles Bernstein (Cujo, A Nightmare
\non Elm Street) will curate an evening of historical
\nfilm scores conducted by Thomas Wilkins. Scores
\nlike A. R. Rahman\u2019s for Slumdog Millionaire, Tan
\nDun\u2019s for\u00a0Crouching Tiger, Hidden Dragon, and
\nJohn Carpenter\u2019s for\u00a0Halloween will be featured.<\/p>\n
The evening will close out with a suite from this
\nyear\u2019s Oscar-nominated soundtracks by Carter
\nBurwell (Three Billboards Outside Ebbing,
\nMissouri), Alexandre Desplat (The Shape
\nof Water), Jonny Greenwood (Phantom Thread),
\nHans Zimmer (Dunkirk) and John Williams
\n(Star Wars: The Last Jedi).<\/p>\n
During the 2018-19 season, 51-time Oscar
\nnominee Williams will also be the subject of
\nhis own night at the Walt Disney Concert Hall,
\n\u201cCelebrating John Williams,\u201d with Dudamel
\nconducting a tribute to the composer of
\nindelible scores for such films as Fiddler
\non the Roof (1971), Jaws (1975), Star
\nWars (1977), E.T. the Extra-Terrestrial (1982),
\nSchindler\u2019s List (1993) and dozens more.
\nMontages from these films will screen as the
\norchestra plays throughout the evening.<\/p>\n
\u201cWe always talk about John Williams from the
\nperspective as one of the great film composers,
\nand I know that this is Gustavo\u2019s position, and why
\nGustavo wanted the John Williams program in the
\nHall: John Williams is simply one of the great
\ncomposers [even outside of film],\u201d says Smith.
\n\u201cHe\u2019s probably had a more direct influence on
\nshaping the orchestral sound of two generations
\nof listeners than any other composer alive.\u201d<\/p>\n
Similarly, an evening-long program called \u201cStanley
\nKubrick\u2019s Sound Odyssey\u201d will look at the music
\nKubrick used in his film scores. \u201cFamously, Kubrick
\nused an existing classical music repertoire as the
\nsoundtracks to his films,\u201d says Smith. \u201cThe
\nAcademy has their fingerprints all over these
\nprograms as well.\u201d<\/p>\n
The Phil\u2019s centennial season will also feature
\ncollaborations with MacArthur Fellow Yuval
\nSharon, celebrated composer Christopher
\nRountree\u00a0and Benjamin Millepied\u2019s L.A.
\nDance Project, which will perform a dance
\nproduction to Prokofiev\u2019s Romeo and Juliet.
\nMillepied, who is known in the film industry
\nfor choreographing Black Swan (2010),
\nduring which he met wife Natalie Portman,
\nreturned to Los Angeles after leading the
\nvaunted Paris Ballet Opera from 2014 to
\n2016.<\/p>\n
\u201cA lot of these projects come back to Gustavo,\u201d
\nsays Smith. \u201cThis relationship with Benjamin
\nis something that\u2019s driven by a creative and
\npersonal friendship.\u201d<\/p>\n
The season kicks off Sept. 27 with L.A. Fest, an
\n11-day extravaganza focusing on L.A.-centric
\ncomposers and events, including an evening
\nof jazz with Herbie Hancock, a concert with
\nGrammy-winning Mexican-American band
\nLa Santa Cecilia, a Songbook event with
\nAndrew Bird and a collaboration with Moby.<\/p>\n
The season will culminate with a gala Oct. 24,
\n2019, 100 years to the day after the L.A.
\nPhilharmonic\u2019s first concert.<\/p>\n
The Phil came from relatively humble beginnings.
\nWilliam Andrews Clark Jr. isn\u2019t a name known to
\nmany Angelenos, but his legacy is one that The
\nNew York Times last year called \u201cthe most
\nimportant orchestra in America. Period.\u201d A
\ncopper baron and arts patron, Clark single-
\nhandedly founded the Philharmonic in 1919.
\nOf course, situated at the center of the film
\nuniverse, the Phil found itself quickly entrenched
\nin the musical language of the movies.<\/p>\n
\u201cThe Philharmonic has played a significant role
\nin the music that has been a part of films for the
\npast 80 years,\u201d says Smith. \u201cSo, there\u2019s been
\nthis intertwined nature. When you think about
\nback in the \u201930s when the exiled composers like
\nMax Steiner and Franz Waxman were coming
\nhere, those were composers that the Philharmonic
\nwas playing their concert works from when they
\nwere living and working in Europe. Out of that
\nfilmic symphonic sound was also born the sound
\nof our orchestra. Otto Klemperer was the music
\ndirector back in the \u201930s, and he invited so many
\nof those musicians to Los Angeles. The idea that
\nthe L.A. Philharmonic can exist in this space without
\nhaving a deep relationship with the community of art
\nmakers that have made Los Angeles the center of
\ncreativity would be silly.\u201d<\/p>\n
===========================================<\/p>\n
<\/p>\n
II. Paramount\u2019s Movie Music Claims Take a Beating from Ninth Circuit<\/p>\n
<\/p>\n
(CN) \u2013 A panel of Ninth Circuit judges seemed highly
\nskeptical Thursday of Paramount Pictures\u2019 claim that
\nit had no control over whether the music producer it
\nhired for a movie released in October chose a composer
\nwho worked with musicians in the U.S. \u2013 a major
\ncondition of Paramount\u2019s agreement with the musicians\u2019 union.<\/p>\n
The Basic Theatrical Motion Picture Agreement of 2010
\nrequires nearly a dozen major movie houses, including
\nParamount, to hire members of the United States and
\nCanada to score movies.<\/p>\n
But in 2015, an orchestra in Slovakia recorded the score
\nfor the Paramount movie \u201cSame Kind of Different as Me.\u201d
\nReleased in October, \u201cSame Kind\u201d is a poorly reviewed
\nfeel-good movie starring Greg Kinnear as an art dealer
\nwho befriends a homeless man to save his marriage to
\nhis wife, played by Renee Zellweger.<\/p>\n
American Federation of Musicians of the United States
\nand Canada sued Paramount in June 2015, claiming it
\nbreached the parties\u2019 collective bargaining agreement.<\/p>\n
In its complaint, the union said the movie was being
\n\u201chastily scored\u201d outside the U.S. just weeks after the
\nunion had sued Paramount for the same reasons over
\nthree other movies.<\/p>\n
One year later, U.S. District Judge Dolly M. Gee tossed
\nthe lawsuit, finding that the Slovakian orchestra members
\nwere not technically employees of Paramount, since Paramount
\nhad hired production company Skodam Films to do the bulk
\nof the work making and shooting the movie. Skodam, in turn,
\nhad hired a music composer who had hired the orchestra.<\/p>\n
The collective bargaining agreement does not describe
\nscenarios with co-producers or more than one producer,
\nGee wrote. And under the agreement, the single producer
\nmust also be the employer of the musicians for them to
\nbe covered by the agreement.<\/p>\n
The union appealed that decision, and a three-judge panel
\nheard arguments on the case Thursday.<\/p>\n
Arguing for the union, attorney Robert Alexander said that
\nthe district court had based its ruling on an inaccurate
\nassessment of the collective bargaining agreement.<\/p>\n
\u201cThe reason that\u2019s an improper interpretation is that the
\nwhole purpose is to require Paramount to employ union
\nmusicians when it would not otherwise do so,\u201d Alexander
\ntold the panel. \u201cParamount easily could have insisted that
\nthe composer that is chosen for this work be one that
\nassigns musicians in the United States.\u201d<\/p>\n
Paramount\u2019s lawyer, Adam Levin with Mitchell Silbergerg
\n& Knupp, argued that Paramount was not a producer
\nunder the terms of the union agreement and \u201cdid not
\ncontrol any aspect of this production.\u201d<\/p>\n
Under the agreement, Levin said the term \u201cproducer\u201d
\napplies only to activities that involve a movie camera,
\nand doesn\u2019t apply to things like setting up funding for
\na movie or securing a set.<\/p>\n
\u201c\u2018Produced\u2019 must have a very close nexus to the
\noperation of a camera,\u201d Levin said. \u201cThat is what
\nthe agreement is contemplating.\u201d<\/p>\n
Circuit Judge Marsha Berzon took issue with that logic.<\/p>\n
\u201cSo you\u2019re basically saying under this agreement
\nthere is no co-production,\u201d Berzon said. \u201cYou can\u2019t
\nhave more than one producer. So it\u2019s contemplating
\na world that doesn\u2019t exist, is what you\u2019re saying. It\u2019s
\njust completely antiquated.\u201d<\/p>\n
Levin responded, \u201cIt doesn\u2019t say there can be another
\nproducer. Furthermore, the verb \u2018producing\u2019 means to
\noperate the cameras to put images on film.\u201d<\/p>\n
Judge Berzon seemed to scoff at that.<\/p>\n
\u201cLet\u2019s say that I think those are both exceedingly weak
\narguments,\u201d Berzon said. \u201cAlthough I don\u2019t think the
\nother side\u2019s argument is a slam dunk, the way you\u2019re
\ngoing at this just seems not to be there.\u201d<\/p>\n
Levin then said that, despite Paramount\u2019s contractual
\nright to approve or disapprove the composer chosen
\nby the production company it hired, Paramount had
\nno control over whether that composer hired musicians
\nwithin the United States.<\/p>\n
Judge Berzon said that didn\u2019t get Paramount off the hook.<\/p>\n
\u201cIf they had known that Skodam Films was scoring
\noutside the United States, they should have said no,
\nwe disapprove?\u201d Berzon said. \u201cOr could have said,
\nno because we have an obligation to have it scored
\nin the United States. Could it have done that?\u201d<\/p>\n
\u201cNo, your honor, because there is no evidence that
\nParamount could have exercised any such control
\nover Skodam Films,\u201d Levin said. \u201cThe contract
\ncontemplates that Paramount could approve or
\ndisapprove the selection of the composer. But that\u2019s
\na far stretch from approving or disapproving of the
\nselection to do the scoring work inside or outside
\nof the United States.\u201d<\/p>\n
\u201cI\u2019m sorry,\u201d Berzon said. \u201cI don\u2019t understand that.\u201d<\/p>\n
At the end of the hearing, union attorney Alexander
\ntold the judges that Paramount was mounting its highly
\nsemantic defense because it had a good financial
\nreason to do so.<\/p>\n
\u201cUse of music that is scored under the contract
\nrequires additional payments which would be
\nentirely on Paramount,\u201d Alexander said. \u201cSo it\u2019s
\nin its interest that the music not be scored. It\u2019s
\nin its interest to offshore the music.\u201d<\/p>\n
The panel did not indicate when it would issue a ruling.<\/p>\n
[EC: If the film is made by Paramount, they have a point.
\nBut if Paramount is solely the distributor of the film they
\nhave NO say in how, when and why a film is produced.
\nIt’s just an underhanded money grab for the benefit of
\na small fraction of greedy musicians and a union that
\nis dying not eh vine and desperate to get money
\nwherever they can.]<\/p>\n
<\/p>\n
====================================<\/p>\n
<\/p>\n
III. MEMBER COMMENT<\/p>\n
<\/p>\n
I am very concerned about this report on the
\npension fund and the apparently poor
\nshowing in the investment returns.<\/p>\n
I wonder why Vince Trombetta is still a
\nmember of the Pension Trust Fund Board.
\nIt has been some considerable time since
\nhe was an officer of Local 47. I realize that,
\nas many of us are, is a recipient of pension
\nfrom the Fund, but why is he still a
\nmember of said Board?<\/p>\n
[EC: We’ve wondered the exact same thing.]<\/p>\n
<\/p>\n
================================<\/p>\n
<\/p>\n
IV. EVENTS
\nDEAN AND RICHARD
\nare now at Culver City Elks the first \u2028Friday of \u2028every month.
\n7:30pm-10:30pm,
\n11160 Washington Pl.
\nCulver City, 90232
\n310-839-8891<\/p>\n
——————————————<\/p>\n
2\/17\/18<\/p>\n
RON ROBINSON PRESENTS
\nNUDESCAPES by Nu Som
\nSaturday, Feb 17 5-8 PM<\/p>\n
Artist Reception Book Signing
\nand Discussion with Photographer
\n\/ Author Nu Som
\nand
\nArt Expert \/ Foreword Writer
\nDeborah Zafman<\/p>\n
Where: Ron Robinson
\n1327 5th Street, Santa Monica
\nWhen 2\/17\/18 5-8pm<\/p>\n
——————————————-<\/p>\n
2\/21\/18<\/p>\n
GLENDALE NOON CONCERTS<\/p>\n
Wed FEBRUARY 21, 2018 at 12:10-12:40 pm
\nFree Admission
\nViolinist JOHANA KREJCI & Pianist BRENDAN WHITE
\nwill perform works by J.S. BACH & JOHANNES BRAHMS
\n(Violin Sonata No.1 in G Major, Op.78).
\nhttp:\/\/www.glendalenoonconcerts.blogspot.com
\nThank you!
\nJacqueline Suzuki
\nCurator, Glendale Noon Concerts<\/p>\n
<\/p>\n
——————————————-<\/p>\n
3\/11\/18<\/p>\n
\u201cWESTERN SUITE\u201d by
\nAdrienne Albert<\/p>\n
Sunday, March 11th, 2018 at 6 pm.
\nThe Southeast Symphony, under the direction of Anthony Parnther,
\nwill be performing my \u201cWESTERN SUITE\u201d for orchestra along
\nwith works by Leonard Bernstein, Rimsky Korsakov, and Capuzzi:
\nConcerto for Double Bass.<\/p>\n
Sunday, March 11th, 2018
\nTime: 6 PM
\nPlace: First Congregational Church of Los Angeles
\n540 S. Commonwealth Ave. Los Angeles, CA 90020<\/p>\n
https:\/\/www.southeastsymphony.com\/march-11-scheherazade<\/p>\n
More information will be coming soon!!<\/p>\n
All best,
\nAdrienne<\/p>\n
<\/p>\n
——————————————<\/p>\n
<\/p>\n
The Pacific Northwest Film Scoring Program at the Seattle Film Institute<\/p>\n
is now accepting applications for the one-year<\/p>\n
Master of Music in Film Composition<\/p>\n
One of the Top 4 Film Music Programs in the World!<\/p>\n
Recently rated as the #4 school in the world for film scoring education by\u00a0Music School Central.<\/p>\n
“in just one year, the school places students into a pressure cooker of intense learning resulting in a professional demo reel that can be used to obtain future paid commercial opportunities.”<\/p>\n
<\/p>\n
Learn from Industry Professionals<\/p>\n
All PNWFS faculty are active professional film and game composers, orchestrators, copyists, and engineers, including the program’s creator and lead instructor Dr.\u00a0Hummie Mann. \u00a0Hummie is the two-time Emmy Award winning film composer of “Robin Hood: Men in Tights” and featured in Variety Magazine’s article\u00a0“Leaders in Learning”.<\/p>\n
Our Program Features:
\n\u2022 9 live recording sessions with professional musicians at Studio X, Seattle’s premiere, world-class studio.
\n\u2022 Opportunities to work with student directors to score actual films from film programs all over the world.
\n\u2022 \u2028Training in all major software programs used in the industry.
\n\u2022 \u2028A state-of-the-art workstation assigned to each student fully installed with the latest versions of all software, sample libraries and plug-ins needed to complete the program.<\/p>\n
<\/p>\n
Accelerated and Affordable<\/p>\n
We are a one-year Master of Music in Film Composition program which not only gives our graduates the opportunity to enter the industry and start their careers a year sooner than other programs but saves them an entire year of living expenses. In addition to our accelerated format we also offer the most affordable tuition out of competing programs. Our students have access to FAFSA financial assistance, loans, and scholarships as well.<\/p>\n
<\/p>\n
History of Success<\/p>\n
We are very proud to have a high success rate for our graduates who have gone on to work on television shows such as Castle, Empire, and Once Upon a Time; video games such as World of Warcraft, Spate, and Destiny; and films such as The Revenant, Trolls, The Dark Tower, and Guardians of the Galaxy Vol. 2.\u00a0Apply now\u00a0and you could be joining their ranks!<\/p>\n
Applications are being accepted for the Fall 2018\u00a0school year.
\nWe offer rolling admissions – no deadline to apply.<\/p>\n
<\/p>\n
<\/p>\n
(800) 882-4734 | www.pnwfilmmusic.com
\n——————————————–<\/p>\n
UNTIL NEXT TIME,\u2028\u2028THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47<\/p>\n","protected":false},"excerpt":{"rendered":"
2\/16\/18 I. L. A. PHIL REATURED IN OSCAR PERFORMANCE II. PARAMOUNT’S MUSIC MUSIC CLAIMS III. MEMBER COMMENT IV. 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 […]<\/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-504","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/504","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=504"}],"version-history":[{"count":0,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/504\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=504"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=504"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=504"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}