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(686, 4, '2015-08-26 05:20:16', '2015-08-26 00:20:16', 'David Grisman Bluegrass Experience: Grass Valley Bluegrass Festival, 2015. ', 'DGBX and Jim GV2015', 'Keith Little – banjo, Chad Manning – Fiddle, David Grisman – Mandolin, Sam Grisman – Bass, Jim Nunally – Guitar', 'inherit', 'closed', 'open', '', 'dgbx-and-jim-gv2015', '', '', '2015-10-07 14:44:26', '2015-10-07 21:44:26', '', 851, 'http://afm424.digiminddesign.com/wp-content/uploads/2015/08/DGBX-and-Jim-GV2015.jpg', 0, 'attachment', 'image/jpeg', 0),
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(5, 2, '2010-12-02 17:49:38', '2010-12-02 17:49:38', '[vc_row][vc_column width=\"2/3\"][vc_column_text]\n<h1>Local 424 AFM</h1>\n<em><strong>Welcome to the new AFM Local 424 website.</strong></em>\n\nThe American Federation of Musicians (AFM) is the largest organization in the world dedicated to representing the interests of musicians, singers, songwriters, composers, arrangers and DJs.\n\nThe AFM has well over 90,000 members nationwide. We represent all styles of music—rock, alternative, classical, jazz, pop, country, folk, bluegrass, funk, R&amp;B, gospel, J-Pop, K-Pop, world beat, singer/songwriter, Latin, contemporary Christian, big band, reggae and more.\n\nWith such active members as Bruce Springsteen, Metallica, Counting Crows, Roberta Flack, Santana, Yo-Yo Ma, Sheila E, Suzanne Vega, The Goo Goo Dolls, Willie Nelson and Branford Marsalis, the AFM has strong representation in all areas of popular music.\n\n<hr />\n\n<h4 style=\"text-align: center;\"><span style=\"color: #3399dd;\">The AFM has been promoting and protecting musicians for over 110 years.</span></h4>\n\n<hr />\n\nLocal 424 is committed to bringing the AFM into the 21st century––embracing all the latest technological developments in popular entertainment.\n\nLocal 424 is here to serve those whose passion is music and help them realize their dreams.[/vc_column_text][/vc_column][vc_column width=\"1/3\"][vc_cta h2=\"Become an AFM Member!\" h4=\"Join our ever-growing community of artists.\" txt_align=\"center\" shape=\"square\" add_button=\"bottom\" btn_title=\"Join AFM\" btn_shape=\"square\" btn_color=\"primary\" btn_align=\"center\" add_icon=\"top\" i_icon_fontawesome=\"fa fa-users\" i_background_style=\"rounded\" i_background_color=\"white\" i_on_border=\"true\" btn_link=\"url:http%3A%2F%2Fafm424.org%2Fjoin%2F||\"][/vc_cta][vc_cta h2=\"International Musician\" txt_align=\"center\" shape=\"square\" add_button=\"bottom\" btn_title=\"Current Issue\" btn_style=\"flat\" btn_shape=\"square\" btn_color=\"danger\" btn_align=\"center\" add_icon=\"top\" i_icon_fontawesome=\"fa fa-book\" i_background_style=\"rounded\" i_background_color=\"white\" i_on_border=\"true\" btn_link=\"url:http%3A%2F%2Finternationalmusician.org||target:%20_blank\"][/vc_cta][/vc_column][/vc_row][vc_row][vc_column][vc_separator][vc_column_text]\n<h2>Latest News</h2>\n[/vc_column_text][vc_row_inner][vc_column_inner width=\"1/4\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" item=\"1562\" grid_id=\"vc_gid:1464008515262-154cfe44-478c-4\" taxonomies=\"5\"][/vc_column_inner][vc_column_inner width=\"1/4\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" item=\"1562\" grid_id=\"vc_gid:1464008368370-6c808090-f273-6\" taxonomies=\"18\"][/vc_column_inner][vc_column_inner width=\"1/4\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" item=\"1562\" grid_id=\"vc_gid:1464008402506-fcfed35b-b60a-3\" taxonomies=\"22\"][/vc_column_inner][vc_column_inner width=\"1/4\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" item=\"1562\" grid_id=\"vc_gid:1464008472652-ad036203-af2d-9\" taxonomies=\"7, 11, 8, 25\"][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row]', 'Home', '', 'publish', 'closed', 'closed', '', 'home', '', '', '2016-05-23 06:02:02', '2016-05-23 13:02:02', '', 0, 'http://localx.afmquartet.org/', 0, 'page', '', 0),
(7, 2, '2010-12-02 17:49:52', '2010-12-02 17:49:52', '<h3>Local and Federation sponsored booking/referral services:</h3>\r\nLocal 424 assists potential live music purchasers in the Contra Costa County area to find the right artist or group for their party, wedding, festival, corporate function or any other event that requires live music. In addition, the AFM provides an international on-line referral service (free of charge to all members and potential purchasers) that is quickly becoming one of the largest Internet resources of its kind.\r\n<h3>Signatory Booking Agents:</h3>\r\nThe AFM maintains an on-line list of franchised booking agents for the US and Canada. It is also available in booklet form by contacting Local 424 or the AFM. These agents are signatories to the AFM\'s Booking Agent Agreement which sets standards for legally enforceable contracts specifying negotiated fees, working conditions, and commissions.\r\n<h3>Exclusive Member Services:</h3>\r\n<ul>\r\n	<li>AFM <a href=\"http://gopromusic.com\">GoPro Music</a> - Your Single Source For Live Music</li>\r\n	<li>AFM <a href=\"http://goprolessons.com\">GoPro Lessons</a> - Learn From a Pro - Play Like a Pro</li>\r\n	<li>AFM <a href=\"http://goprohosting.com\">GoPro Hosting</a> - Professional Web Hosting Services</li>\r\n</ul>\r\n<h3>Immigration Assistance:</h3>\r\nThe AFM is an international union representing professional musicians in both the United States and Canada. On behalf of its members who accept gigs across the border, the Federation works with the governments of both countries to cut through the hassle of \"red tape\" usually associated with obtaining work visas in either location. This assistance is available for both US and Canadian musicians. There are specialized Canadian and US forms, both formats conform to the laws of the individual countries, are easy to complete, and provide comprehensive legal protection for either single engagement or touring dates.\r\n<h3>Claims on Default:</h3>\r\nIn the event a purchaser defaults on payment to members for a contracted engagement, Local 424 and/or the AFM will work to resolve the dispute between the parties administratively. Should this prove unsuccessful the Local and/or Federation will pursue the claim through a variety of legal methods.\r\n<h3>Pension Fund:</h3>\r\nMembers have the option of having the employer make contributions to the Pension fund of up to 15% of wages paid on their behalf. Please contact the office for more information.\r\n<h3>Negotiated Agreements:</h3>\r\nInternational, national and local agreements covering all types of musical work ensure fair and timely payments as well as benefits and royalties (where applicable) for the reuse and new use of music recorded under these agreements.\r\n<h3>Legal Contracts:</h3>\r\nA signed AFM contract offers you protection for individual engagements, steady engagements, and traveling work. The AFM has a standard form contract that all members are entitled to use. It contains the AFM seal and when properly filled out and filed with the Local, it allows the local officer to help collect payments in the case of a default. Forms are available for download from the AFM\'s website, or at our office.\r\n<h3>A.F.M. Mastercard:</h3>\r\nThe A.F.M. Mastercard offers special rates, travel insurance benefits, and a special payment provision. Contact Local 424 AFM office, 5531 Alameda Avenue, Richmond CA. 94804 or call (510)758.3011 for details.\r\n<h3>Legislative Representation:</h3>\r\nThe AFM is actively involved at the national, state and local levels, advocating and lobbying for legislation that benefits the lives of working musicians including public funding for the arts.\r\n<h3>International Musician Free Subscription:</h3>\r\nThe International Musician is the official journal of the AFM. Published monthly and sent to all members, this informative newspaper delivers articles of current interest to professional musicians, such as educational resources, labor news, as well as audition notices and help wanted ads. The International Musician is also available online, beginning the first of each month, in the private members area of the AFM website. Members may also search online through past issues in the International Musician archives.\r\n<h3>Equipment Insurance:</h3>\r\nOnly you know the value of your instruments and equipment. Just think of the amount of money it would take to replace them. Most homeowner\'s and renter\'s insurance is not enough to protect you from loss, theft, or damage on location. The AFM provides access to an \"All-Risk\" Musical Instrument and Equipment Insurance Plan. Your instruments and music-related equipment are protected from vandalism, breakage, water, fire, lightning, and theft up to the full replacement value. If you are employed full-time, freelance, work out of your home, or are self-employed, this insurance protects the large investment you\'ve made in your equipment.\r\n\r\n<strong>A Collective Voice:</strong>\r\n\r\nIt is only through the combined efforts of members that Local 424 and the AFM are able to better the position of musicians in our society. As a collective unit, we not only have a strong voice in collective bargaining and government lobbying, but anywhere that musicians work. As a member, you will have a voice in deciding our collective future.', 'Benefits', '', 'publish', 'open', 'open', '', 'benefits', '', '', '2016-05-31 07:28:26', '2016-05-31 14:28:26', '', 0, 'http://localx.afmquartet.org/', 0, 'page', '', 0),
(11, 2, '2010-12-02 17:50:36', '2010-12-02 17:50:36', '<strong>Live Nation</strong> is a Bay Area box office company run by BGP who advertise and sell tickets to every major venue in the San Francisco north, east and south Bay Areas. Live Nation sells tickets for The Concord Pavilion &amp; The Craneway Pavilion. These two major venues are in 424\'s jurisdiction.  Live Nation; <a href=\"http://livenation.com\">www.livenation.com</a> for listing of concert\'s in the greater bay area and to purchase your ticket.\r\n\r\nThe Craneway Pavilion is in the City of Richmond\'s Marina Area.  The Craneway Pavilion\'s capacity is 5,000 people.  <a href=\"http://www.craneway.com\">www.craneway.com</a> . Click the link to see the venue, hear about who\'s playing and when.', 'Concert Calendar', '', 'publish', 'closed', 'closed', '', 'concert-calendar', '', '', '2015-09-07 10:54:03', '2015-09-07 17:54:03', '', 0, 'http://localx.afmquartet.org/', 0, 'page', '', 0),
(17, 2, '2010-12-02 17:57:35', '2010-12-02 12:57:35', '[vc_row][vc_column width=\"2/3\"][vc_column_text]\r\n<h1>Members Area</h1>\r\n<a href=\"http://local424.afmquartet.org/files/2010/12/424-2012-Bylaws.pdf\">424 2012 Bylaws</a>\r\n\r\n<a href=\"https://afm424.org/wp-content/uploads/2014/10/2013BylawsAFM-International1.pdf\">2013 Bylaws AFM International</a>\r\n<div>\r\n<div dir=\"ltr\"><a href=\"http://promusic47.org/allscales.html\" target=\"_blank\">Electronic Media Scale</a></div>\r\n</div>\r\n<div></div>\r\n[/vc_column_text][/vc_column][vc_column width=\"1/3\"][vc_column_text]You are currently logged in. <a href=\"https://afm424.org/member-dashboard/\">Member Dashboard</a>.[/vc_column_text][ihc-logout-link][/vc_column][/vc_row]', 'Members Area', '', 'publish', 'closed', 'closed', '', 'members-area', '', '', '2016-04-22 06:23:38', '2016-04-22 13:23:38', '', 0, 'http://localx.afmquartet.org/', 0, 'page', '', 0),
(22, 2, '2010-12-02 17:58:17', '2010-12-02 17:58:17', '[vc_row][vc_column width=\"2/3\"][vc_column_text]\r\n<h1>Join the AFM</h1>\r\n<h3>It\'s a Great Time to be a Member!</h3>\r\nIf you are a full-time or part-time musician, it is to your advantage to belong to the only organization that truly represents the interests of musicians and performers. For a detailed explanation of the numerous benefits and services Local 424 and the AFM have to offer the professional musician, please read the <a href=\"/benefits\">Membership Benefits</a> page. Once again, thank you for your interest, and we look forward to the opportunity to support you!\r\n\r\n<strong>Check out these AFM Solution Series Brochures (PDF)</strong>\r\n<ul>\r\n	<li><a href=\"http://afmquartet.org/shared/why_join_AFM.pdf\">Why Join The AFM? Good Question, Great Reasons</a></li>\r\n	<li><a href=\"http://afmquartet.org/shared/alive_working.pdf\">How To Stay Alive And Working</a></li>\r\n	<li><a href=\"http://afmquartet.org/shared/independent_recording.pdf\">How To Protect Your Independent Recording</a></li>\r\n	<li><a href=\"http://afmquartet.org/shared/more_money.pdf\">How To Get More Money From Your Music</a></li>\r\n	<li><a href=\"http://afmquartet.org/shared/new_use.pdf\">How The New Use Procedure Benefits You</a></li>\r\n	<li><a href=\"http://afmquartet.org/shared/music_is_our_business.pdf\">Music Is Our Business... And Yours</a></li>\r\n</ul>\r\n<strong>Membership Rates</strong>\r\n\r\nFor Regular Members Dues if Paid Annually: $114.00\r\nFor Regular Members Dues if Paid Quarterly: $28.50\r\nFor Life Members Dues if Paid Annually: $68.00\r\nFor Life Members Dues if Paid Quarterly: $17.00\r\nLocal Initiation Fee (one-time): $55.00\r\nFederation Initiation Fee (one-time): $65.00[/vc_column_text][/vc_column][vc_column width=\"1/3\"][vc_cta h2=\"Live in Contra Costa County?\" h4=\"Join Our Local 424 Chapter.\" txt_align=\"center\" add_button=\"bottom\" btn_title=\"Join Local 424\" btn_style=\"flat\" btn_color=\"danger\" btn_align=\"center\" add_icon=\"top\" i_icon_fontawesome=\"fa fa-users\" i_background_style=\"rounded\" i_background_color=\"white\" btn_link=\"url:http%3A%2F%2Fafm424.org%2Fjoin-afm-local-424%2F||\" btn_button_block=\"true\" i_on_border=\"true\"][/vc_cta][vc_cta h2=\"Outside of Contra Costa County?\" h4=\"Click below to find your local chapter.\" txt_align=\"center\" add_button=\"bottom\" btn_title=\"I Live Outside Contra Costa\" btn_style=\"classic\" btn_color=\"primary\" btn_align=\"center\" add_icon=\"top\" i_icon_fontawesome=\"fa fa-user\" i_background_style=\"rounded\" i_background_color=\"white\" btn_link=\"url:https%3A%2F%2Fwww.afm.org%2Fjoin||target:%20_blank\" btn_button_block=\"true\" i_on_border=\"true\"][/vc_cta][/vc_column][/vc_row]', 'Join', '', 'publish', 'open', 'open', '', 'join', '', '', '2015-10-03 20:45:56', '2015-10-04 03:45:56', '', 0, 'http://localx.afmquartet.org/', 0, 'page', '', 0),
(34, 2, '2010-12-02 18:03:55', '2010-12-02 18:03:55', '[vc_row][vc_column width=\"2/3\"][vc_column_text]\r\n<h1>Referral Service</h1>\r\nOur members are available for touring, recording, freelance work, writing, transcribing and teaching. Some of our 424 members are recording artist professionals, multi-talented musicians who aspire to create music from their unique Contra Costa County, East Bay Area multi-cultural experience. Their musical background are internationally known  and they are historically recognized players who have influenced the San Francisco Bay Area music scene. With roots in Gospel, Blues, Jazz, Latin, Metal Rock, Pan Ethnic, Country and Indigenous Ceremonial Music. Local 424\'s past encompasses a historical tradition in the East North Bay Area since it was chartered April 20th, 1907 in Richmond, California.\r\n\r\nFor assistance in locating a particular talent please contact:\r\n\r\n<a href=\"mailto:local424@gmail.com\" target=\"_blank\">Email Local 424</a> or call 510-758-3011 for more help.[/vc_column_text][vc_column_text]\r\n<h2>Musicians For Hire</h2>\r\n[/vc_column_text][vc_masonry_grid post_type=\"post\" max_items=\"6\" style=\"load-more\" grid_id=\"vc_gid:1443622749412-9f2a1bb2-be46-10\" taxonomies=\"23\"][/vc_column][vc_column width=\"1/3\"][vc_widget_sidebar sidebar_id=\"sidebar-3\"][/vc_column][/vc_row]', 'Referral Service', '', 'publish', 'closed', 'closed', '', 'referral-service', '', '', '2015-10-04 15:25:34', '2015-10-04 22:25:34', '', 0, 'http://localx.afmquartet.org/', 0, 'page', '', 0),
(885, 4, '2015-09-07 18:01:05', '2015-09-08 01:01:05', '[vc_row][vc_column][vc_column_text]\r\n<h1>Can We Help?</h1>\r\nWe noticed you had an issue joining our Local 424! It was probably something we did. Sorry about that. Click the link below to get signed up. We\'re looking forward to your membership.[/vc_column_text][vc_cta h2=\"Join Local 424 AFM Now!\" add_button=\"bottom\" btn_title=\"Join Now\" btn_color=\"danger\" btn_align=\"left\" btn_link=\"url:http%3A%2F%2Fafm424.org%2Fjoin%2F||\"][/vc_cta][/vc_column][/vc_row]', 'Membership Help', '', 'publish', 'closed', 'closed', '', 'membership-help', '', '', '2015-09-07 18:01:24', '2015-09-08 01:01:24', '', 0, 'http://afm424.digiminddesign.com/?page_id=885', 0, 'page', '', 0),
(888, 4, '2015-09-09 11:23:20', '2015-09-09 18:23:20', '[vc_row][vc_column][vc_column_text]\r\n<h1>Join Local 424 AFM or Renew Membership</h1>\r\nBelow you can join or renew your <em><strong>single</strong></em> Local 424 Membership. If you want to join as a group, <a href=\"#group\">click here</a>.[/vc_column_text][vc_row_inner][vc_column_inner el_class=\"ihc-level-item-wrap-group-new\" width=\"1/3\"][vc_column_text el_class=\"ihc-level-item-title\"]New Single Membership (Annual)[/vc_column_text][vc_column_text el_class=\"ihc-level-item-price\"]$234 first year[/vc_column_text][vc_column_text el_class=\"ihc-level-item-content\"]New Single Memberships (Annual) are set up as a one-time fee for one year. You will be asked to renew after your one year is up at a discounted price (see below).\r\n<ul>\r\n	<li>1st year - $114+ LIF $55 + FIF $65 = <strong>$234</strong></li>\r\n	<li>Each additional year -<strong>$114/yr</strong></li>\r\n</ul>\r\n[/vc_column_text][vc_column_text el_class=\"ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=1][/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column_inner][vc_column_inner width=\"2/3\"][vc_cta h2=\"Local 424 AFM Member Benefits\"]\r\n<ul>\r\n	<li>Local and Federation sponsored booking/referral services</li>\r\n	<li>Signatory Booking Agents</li>\r\n	<li>Exclusive Member Services</li>\r\n	<li>Immigration Assistance</li>\r\n	<li>Claims on Default</li>\r\n	<li>and <a href=\"https://afm424.org/benefits/\">many more</a></li>\r\n</ul>\r\n[/vc_cta][/vc_column_inner][/vc_row_inner][vc_column_text]\r\n<h2>Renewing Your Membership?</h2>\r\nNo problem! Select your plan below.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=\"1/4\" el_class=\"ihc-level-item-wrap-group\"][vc_column_text el_class=\"ihc-level-item-title\"]Renew Single Membership (Annual)[/vc_column_text][vc_column_text el_class=\"ihc_level_template_3 ihc-level-item-price\"]$114/yr[/vc_column_text][vc_column_text el_class=\"ihc-level-item-content\"]Renew Life Memberships (Annual) are set up on a yearly recurring payment until otherwise cancelled.[/vc_column_text][vc_column_text el_class=\"member-renew-btn ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=5]Renew[/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column][vc_column width=\"1/4\" el_class=\"ihc-level-item-wrap-group\"][vc_column_text el_class=\"ihc-level-item-title\"]Renew Single Membership (Quarterly)[/vc_column_text][vc_column_text el_class=\"ihc-level-item-price\"]$28.50/qtr[/vc_column_text][vc_column_text el_class=\"ihc-level-item-content\"]Renew Life Memberships (Quarterly) are set up on a yearly recurring payment until otherwise cancelled.[/vc_column_text][vc_column_text el_class=\"member-renew-btn ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=2]Renew[/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column][vc_column width=\"1/4\" el_class=\"ihc-level-item-wrap-group\"][vc_column_text el_class=\"ihc-level-item-title\"]Renew Life Membership (Annual)[/vc_column_text][vc_column_text el_class=\"ihc-level-item-price\"]$68/yr[/vc_column_text][vc_column_text el_class=\"ihc-level-item-content\"]Renew Life Memberships (Annual) are set up on a yearly recurring payment until otherwise cancelled.[/vc_column_text][vc_column_text el_class=\"member-renew-btn ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=3]Renew[/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column][vc_column width=\"1/4\" el_class=\"ihc-level-item-wrap-group\"][vc_column_text el_class=\"ihc-level-item-title\"]Renew Life Membership (Quarterly)[/vc_column_text][vc_column_text el_class=\"ihc-level-item-price\"]$17/qtr[/vc_column_text][vc_column_text el_class=\"ihc-level-item-content\"]Renew Life Memberships (Quarterly) are set up on a yearly recurring payment until otherwise cancelled.[/vc_column_text][vc_column_text el_class=\"member-renew-btn ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=4]Renew[/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]<a name=\"group\"></a>\r\n<h2>Joining as a Group?</h2>\r\nSpecial Offer: Save $120. Sign up as a group of 2 or more. LIF $55 &amp; FIF $65 fees are FREE. Join for only $114/yr each.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=\"1/4\" el_class=\"ihc-level-item-wrap-group\"][vc_column_text el_class=\"ihc-level-item-title\"]New Group Membership – <strong>2 Members</strong> (Annual)[/vc_column_text][vc_column_text el_class=\"ihc-level-item-price\"]$228/yr[/vc_column_text][vc_column_text el_class=\"ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=6]Group Sign Up[/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column][vc_column width=\"1/4\" el_class=\"ihc-level-item-wrap-group\"][vc_column_text el_class=\"ihc-level-item-title\"]New Group Membership – <strong>3 Members</strong> (Annual)[/vc_column_text][vc_column_text el_class=\"ihc_level_template_3 ihc-level-item-price\"]$342/yr[/vc_column_text][vc_column_text el_class=\"ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=7]Group Sign Up[/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column][vc_column width=\"1/4\" el_class=\"ihc-level-item-wrap-group\"][vc_column_text el_class=\"ihc-level-item-title\"]New Group Membership – <strong>4 Members</strong> (Annual)[/vc_column_text][vc_column_text el_class=\"ihc-level-item-price\"]$456/yr[/vc_column_text][vc_column_text el_class=\"ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=8]Group Sign Up[/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column][vc_column width=\"1/4\" el_class=\"ihc-level-item-wrap-group\"][vc_column_text el_class=\"ihc-level-item-title\"]New Group Membership – <strong>5 Members</strong> (Annual)[/vc_column_text][vc_column_text el_class=\"ihc-level-item-price\"]$570/yr[/vc_column_text][vc_column_text el_class=\"ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=9]Group Sign Up[/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column][/vc_row]', 'Join Local 424 AFM', '', 'publish', 'closed', 'closed', '', 'join-afm-local-424', '', '', '2016-02-10 14:40:39', '2016-02-10 21:40:39', '', 0, 'http://afm424.digiminddesign.com/?page_id=888', 0, 'page', '', 0),
(572, 2, '2015-09-07 07:03:48', '2015-09-07 14:03:48', '[vc_row][vc_column width=\"2/3\"][vc_column_text]\r\n<h2>Sasaki Speaks To...</h2>\r\n<h5>Sasaki Speaks features interviews that AFM 424 Secretary-Treasurer Michael Sasaki has conducted with people in music he feels have done notable work, have interesting stories to tell, or are just damn entertaining.</h5>\r\n<h2>Featured Interview</h2>\r\n[/vc_column_text][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" item=\"1580\" grid_id=\"vc_gid:1455037812998-49766c1a-7dcb-8\" taxonomies=\"18\"][/vc_column][vc_column width=\"1/3\"][vc_wp_search title=\"Search\"][vc_column_text el_class=\"hide\" css=\".vc_custom_1454718900672{margin-bottom: 20px !important;}\"]\r\n<h3>Sasaki Speaks To... Archives</h3>\r\n[/vc_column_text][vc_basic_grid post_type=\"post\" max_items=\"5\" element_width=\"12\" item=\"1511\" grid_id=\"vc_gid:1455037813002-257db38d-1618-3\" taxonomies=\"18\" offset=\"1\" el_class=\"sidebar-post-grid hide\"][vc_widget_sidebar sidebar_id=\"sidebar-10\"][/vc_column][/vc_row]', 'Sasaki Speaks To...', '', 'publish', 'closed', 'closed', '', 'sasaki-speaks-to', '', '', '2016-02-09 10:25:05', '2016-02-09 17:25:05', '', 0, 'http://local424.afmquartet.org/?page_id=572', 0, 'page', '', 0),
(878, 4, '2015-09-07 11:46:38', '2015-09-07 18:46:38', ' ', '', '', 'publish', 'closed', 'closed', '', '878', '', '', '2016-09-15 20:31:38', '2016-09-16 03:31:38', '', 0, 'http://afm424.digiminddesign.com/?p=878', 13, 'nav_menu_item', '', 0),
(51, 2, '2011-05-25 15:17:49', '2011-05-25 15:17:49', '[vc_row][vc_column width=\"2/3\"][vc_column_text]\n<h1>Latest Local 424 AFM News</h1>\n[/vc_column_text][vc_row_inner][vc_column_inner width=\"1/2\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" grid_id=\"vc_gid:1464180896783-cfbc047fd20dc9cad4cf9f17d0bbf765-3\" taxonomies=\"5\"][/vc_column_inner][vc_column_inner width=\"1/2\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" grid_id=\"vc_gid:1464180896876-d1c3671a773a8fec426771986be70f82-3\" taxonomies=\"18\"][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner width=\"1/2\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" grid_id=\"vc_gid:1464180897016-3a9e216a0c9634dfa9348bdfdbb541f0-9\" taxonomies=\"22\"][/vc_column_inner][vc_column_inner width=\"1/2\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" grid_id=\"vc_gid:1464181038028-d8a67a95-6972-6\" taxonomies=\"25\"][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner width=\"1/2\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" item=\"1562\" grid_id=\"vc_gid:1464180897313-f1ef21c897650fba8ad0cc549715ae48-10\" taxonomies=\"25\" offset=\"1\"][/vc_column_inner][vc_column_inner width=\"1/2\"][/vc_column_inner][/vc_row_inner][/vc_column][vc_column width=\"1/3\"][vc_wp_search title=\"Search\"][vc_widget_sidebar sidebar_id=\"sidebar-4\"][/vc_column][/vc_row]', 'News', '', 'publish', 'closed', 'open', '', 'news', '', '', '2016-05-25 05:57:51', '2016-05-25 12:57:51', '', 0, 'http://local424.afmquartet.org/?page_id=51', 0, 'page', '', 0),
(125, 2, '2011-08-10 03:01:55', '2011-08-10 10:01:55', 'Our address;\r\nLocal 424 AFM\r\n5531 Alameda Avenue\r\nRichmond, CA 94804\r\nPhone: 510-758-3011\r\noffice hours: Mon-Fri. 11am-3pm\r\n\r\nEmail: <a href=\"mailto:local424@gmail.com\">local424@gmail.com</a>', 'Mailing address for Local 424', '', 'draft', 'open', 'closed', '', 'mailing-address-for-local-424', '', '', '2015-11-03 13:02:44', '2015-11-03 20:02:44', '', 0, 'http://local424.afmquartet.org/?p=125', 0, 'post', '', 0);
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(384, 2, '2014-10-17 04:56:47', '2014-10-16 23:56:47', '[vc_row][vc_column width=\"2/3\"][vc_column_text]\r\n<h1>Important Member Documents</h1>\r\n[/vc_column_text][vc_column_text]\r\n\r\nCopyright forms:    <a href=\"http://www.copyright.gov/forms/\">http://www.copyright.gov/forms/</a>\r\n\r\nElectronic Copyright filing;    <a href=\"http://www.copyright.gov/eco/\">http://www.copyright.gov/eco/</a>\r\n\r\nASCAP     <a href=\"http://www.ascap.com/join\">http://www.ascap.com/join</a>\r\n\r\nBMI      <a href=\"http://www.bmi.com/creators/#join\">http://www.bmi.com/creators/#join</a>\r\n\r\nSound Exchange   <a href=\"http://www.soundexchange.com\">http://www.soundexchange.com</a>\r\n\r\nUSA Radio Royalties   <a href=\"http://www.bmi.com/creators/royalty/us_radio_royalties\">http://www.bmi.com/creators/royalty/us_radio_royalties</a>\r\n\r\nLog onto ASCAP, BMI or Sound Exchange\'s websites above to find out more about performing rights organizations and your royalties.  If you have work that has already been published join \"Sound Exchange\" too.\r\n<h1>U.S. Radio Royalties</h1>\r\n<h2>U.S. Radio Feature Performances</h2>\r\nBMI considers a radio feature performance of a popular song to be one that lasts 60 seconds or more and is the sole sound broadcast at the time of the performance.\r\n\r\nBMI makes separate payment for three categories of radio feature performances, based upon a sampling of stations licensed by BMI.\r\n<ul>\r\n	<li>COMMERCIAL RADIO</li>\r\n	<li>CLASSICAL RADIO</li>\r\n	<li>COLLEGE RADIO</li>\r\n</ul>\r\n<h2>Commercial Radio</h2>\r\nBMI uses performance monitoring data, continuously collected on a large percentage of all licensed commercial radio stations, to determine payable performances. This census information is factored to create a statistically reliable and highly accurate representation of feature performances on all commercial music format radio stations throughout the country.\r\n\r\nRoyalties for performances of works in the BMI repertoire that occur on United States commercial radio stations will be paid according to the following rules:\r\n\r\nRoyalty payments will be based upon the license fees that BMI collected from each individual station that performed a work. As a result, royalty payment rates will vary from quarter to quarter depending upon the amount of the license fees collected from stations that aired each work during that quarter. In addition, the rates may fluctuate from quarter to quarter depending upon the total dollar amount available for each quarter’s commercial radio distribution.\r\n\r\nIn furtherance of BMI’s tradition of serving writers and publishers of all types of music, BMI’s long-standing goal — to support all affiliates with distribution methodologies that fairly value their creative efforts — has not changed. Accordingly, supplemental criteria may be used to establish an increased valuation for certain works performed on U.S. commercial radio stations. A small additional allocation from the amount available for distribution each quarter, which will include funds received by BMI from General Licensing and other income sources, may be used for this purpose. Such allocations will appear in the Hit Song Bonus column of the BMI royalty statement.\r\n\r\nUnder the BMI radio payment system, each feature work, including those written for films and the theater, can become eligible for up to three distinct royalty payment components each quarter. They are called the CURRENT ACTIVITY PAYMENT, the HIT SONG BONUS and the STANDARDS BONUS.\r\n<h1>Support The Songwriter Equity Act. ASCAP</h1>\r\n<strong>Songwriters, composers and music publishers earn royalty income through two separate rights:</strong> the right to publicly perform their music works, and the right to make reproductions of those works and distribute those reproductions.\r\n<h2>Write Your Rep</h2>\r\n<a class=\"bluebtnHor\" href=\"http://www.ascap.com/about/legislation/songwriter-equity-act?vvsrc=%2fcampaigns%2f35072%2frespond\"><span class=\"icon\">✒</span></a><a href=\"http://www.ascap.com/about/legislation/songwriter-equity-act?vvsrc=%2fcampaigns%2f35072%2frespond\"> Urge Congress to act</a>\r\n\r\n<strong>However, two outdated portions of the Copyright Act, Section 114(i) and Section 115, prevent songwriters and composers from receiving royalty rates that reflect fair market value</strong> for the use of their intellectual property. This has created inequity in the marketplace that harms America’s songwriters, composers and music publishers in the digital age. Now is the time to fix it.\r\n<h2>Get the Facts</h2>\r\n<a class=\"bluebtnHor\" href=\"http://www.ascap.com/about/legislation/songwriter-equity-act?vvsrc=%2fcampaigns%2f35072%2frespond\" target=\"_blank\"><span class=\"icon\">✒</span> Download fact sheet (PDF)</a>\r\n\r\n<strong>Thankfully, Congressman Doug Collins (R-GA), has introduced a bill, the Songwriter Equity Act (SEA), H.R. 4079,</strong> that will allow a \"rate court\" to consider other royalty rates as evidence when establishing digital performance rates for songwriters and composers, and it would adapt a fair rate standard for reproduction (mechanical licenses). <b>The companion Bill, S. 2321, was recently introduced in the Senate by Senator. Lamar Alexander (R-TN).</b>\r\n<h2>Tweet Your Support</h2>\r\n<a class=\"bluebtnHor\" href=\"https://twitter.com/share?url=http://www.ascap.com/playback/2014/02/action/songwriter-equity-act.aspx&amp;count=none&amp;text=I support the %23SongwriterEquityAct and fair pay for music creators! Get the facts %2B Retweet: http://t.co/Vvj5JP5lLv\" target=\"_blank\"><span class=\"icon\">✒</span> Tweet #SongwriterEquityAct</a>\r\n\r\nThe bill has received public support from the NMPA, BMI, The Recording Academy and SESAC.\r\n\r\n<strong>Now we need the help of all songwriters, composers and music publishers to urge Congress to take an important first step toward modernizing the music licensing system by amending these outdated provisions.</strong>\r\n\r\n<a href=\"http://www.ascap.com/about/legislation/modernize-music.aspx\">Add your voice</a> of support to the Songwriter Equity Act. And join ASCAP\'s effort to build a stronger future for music. <a href=\"http://www.ascap.com/about/legislation/modernize-music.aspx\">Sign up</a> for the latest news and information about how you can help ASCAP\'s music advocacy initiatives.\r\n<h2>Get Involved</h2>\r\n<a class=\"bluebtnHor\" href=\"http://www.ascap.com/about/legislation/modernize-music.aspx\"><span class=\"icon\">✒</span> Sign up for more info</a>\r\n<div class=\"letter\">\r\n\r\n<strong>About Sections 114(i) and 115 of the Copyright Act and What The Songwriter Equity Act of 2014 (SEA) Will Do to Fix Them</strong>\r\n<strong>Section 114(i) of The Copyright Act</strong> forbids federal courts from considering sound recording royalty rates as a relevant benchmark when setting performance royalty rates for songwriters and composers. In fact, the performing rights organizations (PROs) that collectively license on behalf of songwriters and publishers to music users including satellite radio, digital music services, restaurants, television and more, are not allowed to present this evidence to the courts at all. The result is an uneven playing field where songwriters and composers receive substantially less than sound recordings for a performance or “stream,” of the same song.\r\n\r\n<strong>Section 115 of the Copyright Act</strong> has regulated musical compositions since 1909, before recorded music existed. Section 115 allows anyone to seek a compulsory license to reproduce a song in exchange for paying a statutory rate. The initial rate set by Congress in 1909 was 2 cents per song. Today, that rate is 9.1 cents per song. This minimal increase is due to current law, which directs the Copyright Royalty Board (CRB) – the government body responsible for setting the rate – to apply a standard that does not reflect market value.\r\n\r\n<strong>Specifically, the Songwriter Equity Act would:</strong>\r\n\r\n<strong>Allow a “rate court” to consider other royalty rates as evidence when establishing digital performance rates |</strong> Amend Section 114(i) of the Copyright Act and allow a rate court to consider all relevant evidence when determining songwriter compensation, an ability that is currently prohibited by law. The specifics of how the rate court will apply the evidence are left to the rate court’s discretion.\r\n\r\n<strong>Adopt a fair rate standard for reproduction (mechanical) licenses</strong> | Replace the current substandard rate used by the CRB to determine mechanical royalties with a rate that reflects free market conditions.\r\n\r\n</div>\r\n<strong>The Songwriter Equity Act is an important step toward modernizing the music licensing system and leveling the playing field to ensure that songwriters, composers and publishers are appropriately compensated for the use of their intellectual property.</strong>\r\n\r\n<a class=\"bluebtnHor\" href=\"http://www.ascap.com/about/legislation/modernize-music\"><span class=\"icon\">✒</span> Sign up for more info</a>\r\n\r\n&nbsp;\r\n\r\n[/vc_column_text][/vc_column][vc_column width=\"1/3\"][/vc_column][/vc_row]', 'Important Member Documents', '', 'publish', 'closed', 'closed', '', 'member-documents', '', '', '2015-09-07 10:13:19', '2015-09-07 17:13:19', '', 0, 'http://local424.afmquartet.org/?page_id=384', 0, 'page', '', 0),
(396, 2, '2014-10-17 06:08:39', '2014-10-17 13:08:39', 'When you finish writing your composition. Submitted it for a U.S. Copyright to protect your intellectual property.\r\n\r\nElectronic Copyright Office (eCO) .\r\nUnited States Copyright Office\r\nLibrary of Congress\r\n<a href=\"https://eco.copyright.gov/eService_enu/start.swe?SWECmd=Start&amp;SWEHo=eco.copyright.gov\">https://eco.copyright.gov/eService_enu/start.swe?SWECmd=Start&amp;SWEHo=eco.copyright.gov</a>\r\n\r\n&nbsp;', 'Electronic Copyright Office (eCO) Your link to get there.', '', 'draft', 'open', 'closed', '', 'electronic-copyright-office-eco-your-link-to-get-there', '', '', '2015-10-07 17:22:15', '2015-10-08 00:22:15', '', 0, 'http://local424.afmquartet.org/?p=396', 0, 'post', '', 0),
(424, 2, '2014-10-25 05:27:34', '2014-10-25 12:27:34', '<a href=\"https://afm424.org/wp-content/uploads/2014/10/Paul-Chiten-photo-from-website2.png\"><img class=\"alignleft wp-image-432 \" src=\"https://afm424.org/wp-content/uploads/2014/10/Paul-Chiten-photo-from-website2.png\" alt=\"Paul Chiten photo from website2\" width=\"495\" height=\"412\" />\n</a>', 'Paul Chiten/NAKED PREY MUSIC', '', 'draft', 'open', 'closed', '', '', '', '', '2015-09-29 12:29:11', '2015-09-29 19:29:11', '', 0, 'http://local424.afmquartet.org/?p=424', 0, 'post', '', 0),
(867, 2, '2015-09-29 12:29:10', '0000-00-00 00:00:00', '<h1>AFM Praises Film Incentive Reform Act of 2014</h1>\r\nFOR IMMEDIATE RELEASE\r\nSeptember 17, 2014\r\n\r\nCONTACT: Antoinette Follett\r\n(315) 422-4488 ext. 104\r\n<a href=\"mailto:afollett@bentley-hall.com\"><span style=\"color: #0066cc;\">afollett@bentley-hall.com</span></a>\r\n\r\n<strong><em>New York, NY</em></strong>— Legislation was introduced today in the U.S. Congress to amend Section 181 of the US tax code that would disqualify producers from obtaining taxpayer money to subsidize their films if US jobs are offshored. Section 181 is currently worth $400 million in yearly subsidies to the motion picture industry.\r\n\r\nH.R 5497, the Film Incentive Reform Act of 2014, sponsored by Congressman Collin Peterson (D-MN) and supported by the American Federation of Musicians of the United States and Canada (AFM) would close a loophole in current law which qualifies a film for subsidies if only 75% of a film’s production is spent in the US. The AFM has estimated that musicians lose $30 million in salaries each year through offshoring of TV and film music soundtrack jobs.\r\n\r\n“There is no justification for Congress to provide corporate welfare to the US film industry when producers take taxpayer money and offshore US jobs,” said AFM International President Ray Hair. “Film tax incentive provisions were originally intended to encourage domestic motion picture production, but in the case of musicians who record the film and TV scores, the producers are hurting us.”\r\n\r\n“Current tax loopholes put hard-working musicians, whose names might not be well-known but who work hard for minimum pay because they love music, at a disadvantage,” Congressman Petersen said. The Film Incentive Reform Act of 2014 would close this loophole, ending the tax break to companies that send American jobs offshore. This legislation will save taxpayer money and keep more jobs in the United States,” he said.\r\n\r\nIn 2004, the AFM, in coalition with other entertainment unions and producers, successfully lobbied Congress to include Section 181 in the American Job creation Act of 2004, which outlines “Treatment of Certain Qualified Film and Television Production” for the purposes of providing tax subsidies to domestic film production activities produced in the United States.\r\n\r\nNearly a decade later, Section 181 tax credits provide more than $400 million each year for US film producers. Congressman Peterson’s legislation would modify the law to require a subsidized film production to spend 100% of its production costs in the US, effectively keeping taxpayer money at home.', 'AFM Praises Film Incentive Reform Act of 2014', '', 'draft', 'open', 'closed', '', '', '', '', '2015-09-29 12:29:10', '2015-09-29 19:29:10', '', 0, 'http://afm424.digiminddesign.com/?p=867', 0, 'post', '', 0),
(561, 2, '2015-04-02 10:27:53', '2015-04-02 17:27:53', '&nbsp;\r\n\r\nMelissa Etheridge. Etheridge’s Musical Journey Takes  Her to New Territory\r\nINTERNATIONAL MUSICIAN September 2014.\r\n<h6><a href=\"https://afm424.org/wp-content/uploads/2014/10/9262014webpic17.png\"><img class=\"alignright size-full wp-image-330\" src=\"https://afm424.org/wp-content/uploads/2014/10/9262014webpic17.png\" alt=\"9262014webpic17\" width=\"251\" height=\"229\" /></a></h6>\r\n<h6>The Local 47 (Los Angeles, CA) member released her first independent album, M.E., September 30, 2014. The album cover (above) is a mosaic created from fan photos that were sent to her.</h6>\r\nAt age 53, Local 47 member (Los Angeles, CA) Melissa Etheridge has newfound freedom to create and challenge herself in the modern music industry in ways that were not possible just a few years ago. The seasoned rocker with 17 Grammy nominations and two wins, just launched her first album as an independent artist. Now, the same determined energy that has always steered her career, is guiding her to learn new tricks and explore new territory in terms of collaboration, marketing, and performance.\r\n\r\nEtheridge first showed her resolve to make music when she was only eight years old growing up in Leavenworth, Kansas. “My father bought a guitar for my sister who was 12. They said I was too young to take lessons. I pleaded and begged. My fingers bled, but I kept at it to prove them all wrong,” she recalls.\r\n\r\nExposed to the guitar-driven music popular in the early ’70s, in her youth, Etheridge was inspired by folk music, and in particular, Richie Havens. “I loved the way he played the guitar; he and Keith Richards were probably the biggest influences on me,” she says.\r\n\r\n“I developed a rhythmic way of playing that was very percussive and driving and I really took a lot from Havens, Keith Richards, Bruce Springsteen, and those sorts of guitar players,” she says, explaining how her style developed. “It wasn’t until recently, the last 10 years, that I started branching out and playing more lead.”\r\n\r\nAs a teen, Etheridge began playing gigs around Leavenworth, and she first joined the AFM back in 1974. “I still have my original card up on the wall,” she says. And though she was only 13 at the time, she’s maintained her membership all these years.\r\n\r\n“The union is important because we are in a business where people would do what we do for free,” she says, adding that the union makes sure that people earning their livelihood through music are looked after. “We have rights and benefits because of the union. We went from wandering minstrels to a legitimate business in about 100 years. So it’s super important to be in the union.”\r\n\r\nThinking Outside the Box\r\n\r\n<img src=\"http://afm.org/uploads/image/im/2014/October/9262014webpic1.png\" alt=\"\" width=\"492\" height=\"598\" />\r\n\r\nAs Etheridge watched the music industry evolve with the digital age, she’s embraced the technology, always eager to learn new tricks. Her 12th album of new material, M.E., released September 30, is her first album on her own label. It’s a pioneering and innovative project in many ways.\r\n\r\nFirst off, producing an independent record meant a whole new mindset for production. Without a big label backing her, she didn’t have a huge budget up front to go in for two weeks with a producer, she says. Instead, she branched out and worked with lots of different creative minds to make the music for the album.\r\n\r\nOn top of her own list of potential collaborators were Local 47 member, producer and keyboardist Jon Levine and Jerrod Bettis, who has worked with Gavin DeGraw, Adele, and One Republic. Her management helped her seek out other collaborators like Jerry Wonda and RoccStar.\r\n\r\nFor some songs, Etheridge’s entire creative process was turned upside down and adapted to her co-writers. She says it was a refreshing learning experience. “It just took a willingness to go into their ballpark, on their field, and do the best I can, and it was delightful!” she says. “I was a guest in their homes, and what a community of people I met!”\r\n\r\n“Jerrod [Bettis] would just bring the beats to me and I would take those and write. Like, ‘Take My Number,’ I totally wrote that just off that beat,” she continues. “[Other times] Jon Levine and I created the beats and the music together, and then I would take those home and write the melody and the lyrics.”\r\n\r\n“I told Steven Greener, one of my managers, that I wanted to think outside of the box. I said, ‘I’m dying to do soul music, R&amp;B; I have such a love of dance and soul music from when I was in high school listening to The Commodores and Ohio Players, Parliament, and all that stuff, but I’ve always just had to play rock and roll,” she says, referring to the narrow marketing focus of a record company. “Every time I tried to dip my toe over there, it was like, ‘no, no, no.’”\r\n\r\nGreener introduced Etheridge to producer Jerry Wonda. “We didn’t know what it was going to be like, but it just clicked,” she says, adding that the songs they worked on together, “Monster” and “Do It Again,” are some of her favorites on the album.\r\n\r\nThen, she was introduced to producer RoccStar, who helped her put together “Ain’t That Bad.” “I could listen to that all day long,” says Etheridge of her pleasure with the result.\r\n\r\nWorking with Wonda and RoccStar meant exploring freestyling, she explains. “The culture of freestyling is an honored tradition, and talk about scary! They just get up there and sing … to be in the moment. It’s quite an amazing art form that I have great respect for. I really learned to trust myself and my own ability to rhyme and just get in there and write the song.”\r\n\r\nEtheridge says that it was refreshing to learn new things. “That’s my favorite part,” she concludes. “All the learning and newness of it—I love it!”\r\n\r\nIn the end, Etheridge had more than enough material for her ample album of 11 songs and four bonus tracks. “There are a lot of other songs that I really like that aren’t on the record,” she says, adding that many of them will most likely be used someday for another project.\r\n\r\nConnecting with Fans\r\n\r\nFrom a marketing standpoint, putting out her own album means that Etheridge has jumped full force into the world of social media. “It’s absolutely everything these days,” she says, further explaining her decision to produce an independent record. “I had many meetings and much discussion about the choice of going with a major label or doing it myself. A big part of that was that, with social media, you can reach your fans instantly, and you don’t need the structure of a company to get you out there, so it’s very important.”\r\n\r\nEtheridge enjoys connecting directly to her 61,000+ follower-fans through her Twitter and Instagram accounts. “Every silly thing you see on there comes from me,” she says.\r\n\r\nHer management helped her design an album cover that also connects directly with fans. The artwork is a mosaic photo of Etheridge, made up of many tiny individual photos sent to her from fans. Fans can go to her webpage and tag their photos, linking it to their individual Facebook pages.\r\n\r\nThese days Etheridge is also freer in terms of performances. So aside from the tour to promote M.E., set to begin in November, her latest music projects have included performances of solo acoustic shows, as well as concerts with symphony orchestras, something she describes as challenging and amazing.\r\n\r\n“I love playing with a symphony, and along the line of doing new challenging things—with my band, if I make a mistake, I can just correct it in the next measure, but when you are playing with a symphony, and you make a mistake, 75 of you are going down!” she laughs. “I have great respect for the music and the ability of the conductor to gather all that musicianship.”\r\n\r\n“It’s fun to have three or four people make music together, but when you get 75 people concentrating on one piece of music, that’s a whole lot of energy streaming into the musical blanket we are weaving. It’s gorgeous; It’s amazing. It made me fall in love with ‘Come to My Window’ all over again,” she says, referring to her 1993 hit.\r\n\r\nA Beautiful Balancing Act\r\n\r\nAs much as she enjoys the tours and performances, Etheridge admits that she misses her family when she’s on the road. “The most important thing, is that I am doing what I love. Yes, sometimes what you love takes you away from your loved ones, but they know it’s because I love what I do. It is a beautiful balancing act and I’m grateful for it all,” she says.\r\n\r\nAlong with her busy career, Etheridge also takes time to speak out for causes important to her—gay and lesbian rights, cancer awareness, the legalization of cannabis, and environmental issues. It’s a personal choice, she says, but the right choice for her.\r\n\r\n“All of those things affect me and my family deeply, so it’s easy to be an activist,” she says.\r\n\r\nWhile she believes the fight for LGBT rights in the US is currently going well, she feels it is important to now support LGBT activists outside our country. “I am involved in an organization called Uprising of Love [UprisingofLove.org], which sends funds over to international gay and lesbian organizations, in places where they still get thrown into prison and killed,” she says.\r\n\r\nIt’s All About the Journey\r\n\r\nLooking back on her career, Etheridge says she feels proudest just to have done her best. “I’m proud that I can stand up and say that every choice I have made, I have made with the best intentions and I’ve done my best. And that’s just about the most you can say as you go along in life. By God, just do your best,” says Etheridge.\r\n\r\nHer advice for young musicians is equally simple. Stick with it, even when others tell you that you won’t succeed in music. “You have to do it because you love it, and then love it enough to be smart about what you do. See where it takes you, but know there is no destination. There is no place where you say ‘I did it.’ So even if you don’t think you are succeeding, you are doing exactly what you are supposed to do and learning what you are supposed to learn, because it is all about the journey,” she concludes.', 'PAST FEATURES', '', 'draft', 'open', 'closed', '', 'past-features', '', '', '2015-10-07 17:23:23', '2015-10-08 00:23:23', '', 0, 'http://local424.afmquartet.org/?p=561', 0, 'post', '', 0),
(622, 2, '2015-08-06 10:18:06', '2015-08-06 17:18:06', '<strong>Pension.</strong>  The American Federation of Musicians’ and Employers’ Pension Fund is one of the largest pension funds in the entertainment industry, with more than a half billion dollars in assets.  Every year millions of dollars are paid out to participating musicians.  For detailed information and an application, visit <a href=\"http://www.afm-epf.org\">www.afm-epf.org</a>.  You can also download a Summary Plan Description, which highlights the Plan’s features and helps you understand how the Plan works.', 'PENSION PLAN', '', 'draft', 'open', 'closed', '', 'pension-plan', '', '', '2015-10-07 17:22:28', '2015-10-08 00:22:28', '', 0, 'http://local424.afmquartet.org/?p=622', 0, 'post', '', 0),
(624, 2, '2015-08-06 10:27:05', '2015-08-06 05:27:05', '<strong>Pension.</strong>  The American Federation of Musicians’ and Employers’ Pension Fund is one of the largest pension funds in the entertainment industry, with more than a half billion dollars in assets.  Every year millions of dollars are paid out to participating musicians.  For detailed information and an application, visit <a href=\"http://www.afm-epf.org\">www.afm-epf.org</a>.  You can also download a Summary Plan Description, which highlights the Plan’s features and helps you understand how the Plan works.\r\n\r\n<a href=\"http://www.afm-epf.org\">www.afm-epf.org</a>', 'Pension Plan', '', 'publish', 'closed', 'closed', '', 'pension-plan', '', '', '2015-09-26 21:17:34', '2015-09-27 04:17:34', '', 0, 'http://local424.afmquartet.org/?page_id=624', 0, 'page', '', 0),
(629, 2, '2015-08-06 11:53:54', '2015-08-06 18:53:54', '<h1>AFM Appoints New Director of Electronic Media Services</h1>\r\nFOR IMMEDIATE RELEASE\r\nJanuary 16, 2014\r\n\r\nContact: Antoinette Follett\r\n(315) 422-4488 ext. 106\r\n<a href=\"mailto:afollett@bentley-hall.com\">afollett@bentley-hall.com</a>\r\n\r\n<strong>New York, NY</strong>—American Federation of Musicians of the United States and Canada (AFM) International President Ray Hair is pleased to announce the appointment of Bill Thomas to the position of Assistant to the President and Electronic Media Services Division (EMSD) Director, joining the AFM’s West Coast Office as a senior staffer.\r\n\r\n“Bill Thomas brings years of accomplished, result-oriented media relations experience to the table and I bid him a hearty welcome to our team,” said Hair. “As we transition toward a more open, action-oriented organizing approach to the problems faced by professional musicians in the world of global media, I believe Thomas is the right person, at the right time, to direct the Electronic Media Services Division of American Federation of Musicians.”\r\n\r\nThomas brings more than two decades of senior level media industry executive experience to the Federation, most recently as Executive Director of the Los Angeles chapter of AFTRA, now SAG-AFTRA, a post he held from 2006 until 2012. Prior to his service with SAG-AFTRA, Thomas was Assistant to the Vice President and Chief of Staff of ASCAP’s New York office for 14 years.\r\n\r\nFormer Assistant to the President and EMSD Director Dick Gabriel retired January 16, after more than 35 years of distinguished and dedicated service to Local 47 (Los Angeles, CA), the AFM, and AFM members throughout the US and Canada. Gabriel has had a wonderful, storied career serving the interests of recording musicians, first as a recording representative with Local 47 during the mid-1970s, then as head of the AFM West Coast Office, and later as EMSD director, assisting every AFM president from Victor Fuentealba onward. Gabriel will continue to serve as a consultant to the AFM.\r\n\r\n<strong>AFM Praises Film Incentive Reform Act of 2014</strong>\r\n\r\nFOR IMMEDIATE RELEASE\r\nSeptember 17, 2014\r\n\r\nCONTACT: Antoinette Follett\r\n(315) 422-4488 ext. 104\r\n<a href=\"mailto:afollett@bentley-hall.com\"><span style=\"color: #0066cc;\">afollett@bentley-hall.com</span></a>\r\n\r\n<strong><em>New York, NY</em></strong>— Legislation was introduced today in the U.S. Congress to amend Section 181 of the US tax code that would disqualify producers from obtaining taxpayer money to subsidize their films if US jobs are offshored. Section 181 is currently worth $400 million in yearly subsidies to the motion picture industry.\r\n\r\nH.R 5497, the Film Incentive Reform Act of 2014, sponsored by Congressman Collin Peterson (D-MN) and supported by the American Federation of Musicians of the United States and Canada (AFM) would close a loophole in current law which qualifies a film for subsidies if only 75% of a film’s production is spent in the US. The AFM has estimated that musicians lose $30 million in salaries each year through offshoring of TV and film music soundtrack jobs.\r\n\r\n“There is no justification for Congress to provide corporate welfare to the US film industry when producers take taxpayer money and offshore US jobs,” said AFM International President Ray Hair. “Film tax incentive provisions were originally intended to encourage domestic motion picture production, but in the case of musicians who record the film and TV scores, the producers are hurting us.”\r\n\r\n“Current tax loopholes put hard-working musicians, whose names might not be well-known but who work hard for minimum pay because they love music, at a disadvantage,” Congressman Petersen said. The Film Incentive Reform Act of 2014 would close this loophole, ending the tax break to companies that send American jobs offshore. This legislation will save taxpayer money and keep more jobs in the United States,” he said.\r\n\r\nIn 2004, the AFM, in coalition with other entertainment unions and producers, successfully lobbied Congress to include Section 181 in the American Job creation Act of 2004, which outlines “Treatment of Certain Qualified Film and Television Production” for the purposes of providing tax subsidies to domestic film production activities produced in the United States.\r\n\r\nNearly a decade later, Section 181 tax credits provide more than $400 million each year for US film producers. Congressman Peterson’s legislation would modify the law to require a subsidized film production to spend 100% of its production costs in the US, effectively keeping taxpayer money at home.\r\n\r\n<em>October 14, 2014</em>\r\n<div class=\"entry-content\">\r\n<h1>AFM Appoints New Director of Electronic Media Services</h1>\r\nFOR IMMEDIATE RELEASE\r\nJanuary 16, 2014\r\n\r\nContact: Antoinette Follett\r\n(315) 422-4488 ext. 106\r\n<a href=\"mailto:afollett@bentley-hall.com\">afollett@bentley-hall.com</a>\r\n\r\n<strong>New York, NY</strong>—American Federation of Musicians of the United States and Canada (AFM) International President Ray Hair is pleased to announce the appointment of Bill Thomas to the position of Assistant to the President and Electronic Media Services Division (EMSD) Director, joining the AFM’s West Coast Office as a senior staffer.\r\n\r\n“Bill Thomas brings years of accomplished, result-oriented media relations experience to the table and I bid him a hearty welcome to our team,” said Hair. “As we transition toward a more open, action-oriented organizing approach to the problems faced by professional musicians in the world of global media, I believe Thomas is the right person, at the right time, to direct the Electronic Media Services Division of American Federation of Musicians.”\r\n\r\nThomas brings more than two decades of senior level media industry executive experience to the Federation, most recently as Executive Director of the Los Angeles chapter of AFTRA, now SAG-AFTRA, a post he held from 2006 until 2012. Prior to his service with SAG-AFTRA, Thomas was Assistant to the Vice President and Chief of Staff of ASCAP’s New York office for 14 years.\r\n\r\nFormer Assistant to the President and EMSD Director Dick Gabriel retired January 16, after more than 35 years of distinguished and dedicated service to Local 47 (Los Angeles, CA), the AFM, and AFM members throughout the US and Canada. Gabriel has had a wonderful, storied career serving the interests of recording musicians, first as a recording representative with Local 47 during the mid-1970s, then as head of the AFM West Coast Office, and later as EMSD director, assisting every AFM president from Victor Fuentealba onward. Gabriel will continue to serve as a consultant to the AFM.\r\n<h1>AFM President Blasts NFL Super Bowl Halftime Kickback Scheme</h1>\r\nFOR IMMEDIATE RELEASE\r\nCONTACT: Antoinette Follett\r\n(315) 422-4488 ext. 106\r\nafollett@bentley-hall.com\r\n\r\n&nbsp;\r\n\r\n<strong>New York, NY</strong> – In what could be deemed the most colossal pay to play scheme ever, the National Football League (NFL) has reportedly asked potential Super Bowl halftime performers if they would be willing to pay the league to play at its big game.\r\n“It’s not like the NFL and its Super Bowl organizers don’t have any money and can’t afford to pay for halftime show performances, it’s about the insatiable thirst for profits at the expense of great musical entertainment and those who create it. You can find kickback schemes like this coming from unscrupulous bar and nightclub owners, but for the NFL to descend to such depths would be unconscionable,” said American Federation of Musicians International President Ray Hair.\r\nThe AFM will bring the matter up for discussion with the AFL-CIO’s Department of Professional Employees which includes representatives from all US art and entertainment unions, including the NFL Players Association.\r\nThough the NFL doesn’t usually pay the performing halftime acts, this seems to be a new low. The NFL has reportedly shortlisted its choices for next year’s Super Bowl halftime show to Rihanna, Coldplay and Katie Perry, and was also reported to have requested a portion of post-show tour earnings to secure the booking. A 30-second TV commercial cost $3.8 million and there were 45 minutes of advertisements during the game. The league’s annual revenue is more than $9 billion, and Commissioner Roger Goodell says he would like to reach $25 billion by 2027.\r\n\r\n</div>', 'Past International Articles', '', 'draft', 'open', 'closed', '', 'past-international-articles', '', '', '2015-10-07 17:22:57', '2015-10-08 00:22:57', '', 0, 'http://local424.afmquartet.org/?p=629', 0, 'post', '', 0),
(653, 2, '2015-08-09 21:54:35', '2015-08-10 04:54:35', '<a title=\"Posts by Ray Hair\" href=\"http://internationalmusician.org/author/ray-hair/\" rel=\"author\">Ray Hair</a>  -  AFM International President.\r\n\r\nSince the dawn of unions, there have been union busters. It’s an eternal dynamic between capital and labor. Generations ago, the Pinkertons lurked near factory gates with their bats. In the Chicago Haymarket riots, police and workers perished from a bomb blast during a demonstration in support of an eight-hour workday. In the Harlan County, Kentucky, coal-mining wars of the 1930s, state, and federal troops fought the union.\r\n\r\nTheir descendants, the union-busting law firms and anti-union “consultants” who carry briefcases instead of bats and bombs, took advantage of weak labor laws and inadequate regulatory agencies to thwart unions, all for the purpose of maintaining complete and unilateral employer control over workers and production.\r\n\r\nToday, as labor unions seek to organize internally and externally, we are confronted with an aggressive new face of union busting: the contemporary company union. Modern efforts to defeat union organizing campaigns and break or bust existing union representation are managed through company-dominated organizations within the workplace. Often, union members whose personal agendas dovetail with the aims of the company direct these company-dominated committees.\r\n\r\nFor the union-busting employer, the goal is to set wages and conditions, work rules, and job security unilaterally and to maintain the option to lower those standards solely at employer discretion. This is done either by “union avoidance”—bypassing negotiations with any independent union—or by self-dealing through the dreaded “company union,” a committee of employees dominated by the employer. And as we’ve seen time and again, the employer will invariably elevate the workplace status of any employee who will help achieve its goals.\r\n\r\nThe real strategy behind the modern union-busting campaign is the demonstration of employer power in the workplace through trusted employee surrogates. This is achieved by plucking two diametrically opposed strings in the hearts of the workers: loyalty and fear.\r\n\r\nThe paternalistic message is, “We’re the company. We’re good. We pay your salary. You owe us your loyalty. If you vote for the union, the company will fail, and you’ll be out of a job.” Psychologically, the company and its water-haulers are shaping employee opinion to accept and believe that the consequences of being union are so dire, workers are better off without it.\r\n\r\nYou may have seen versions of this in local contract negotiations where the company representatives hold a meeting in connection with a service and say something like, “If concessions aren’t made, our biggest donor will withdraw all funding and walk away.”\r\n\r\nA union-busting campaign aims to maintain a climate of fear and intimidation. Those who support the company union receive preferential treatment, better pay, and benefits. Those who advocate a union that is independent of the employer have to fight to keep their jobs.\r\n\r\nAnother method of attack used by the union-busting employer is to forward bargaining table demands that would never be acceptable to an existing union under any circumstances. The strategy is to force a strike or seduce wavering workers into abandoning their union in favor of company-dominated unionism where sub-standard conditions can be implemented without a fight.\r\n\r\nAt the same time, union busters will seek to turn the workplace into a battlefield where a sophisticated propaganda war is waged to convince workers that life can be so much better without the union. After all, they’ll say, by lowering standards and trimming benefits, there might be more work.\r\n\r\nFor professional musicians, our workplaces include the rehearsal hall, concert stage, orchestra pit, and recording studio, places where the employer has an advantage in any campaign. But even in the union hall, where members and organizers should have the privacy to discuss their workplace concerns away from the eyes and ears of the employer, there is little protection. Union meetings become a theater of battle when they are attended by members who are agents of the employer and whose presence is solely to help the employer succeed in busting the union.\r\n\r\nToday, modern union busting combines the paternalism of the employer and its company union—the committee that insulates the company from the independent union—with the insecurity of economic reprisal and threatened job loss, all played against the background of the illusion of labor-management cooperation. The union-busting employer doesn’t depend so much on outside consultants. It relies instead on an anti-union antidote administered by employee opinion leaders inside the workplace who do the employer’s dirty work and sell out their colleagues. Without a union to deal with, the employer can freely afford to handsomely reward its supporters using money saved by picking the pockets of its other employees.\r\n\r\nContemporary union busters thrive on fear and divisiveness managed from the inside by employee operatives. You won’t like where they’ll take you.', 'Modern Union Busters Work from the Inside—and You Won’t Like Where They’ll Take You', '', 'publish', 'open', 'closed', '', 'modern-union-busters-work-from-the-inside-and-you-wont-like-where-theyll-take-you', '', '', '2016-02-04 15:49:22', '2016-02-04 22:49:22', '', 0, 'http://local424.afmquartet.org/?p=653', 0, 'post', '', 0);
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(655, 2, '2016-02-03 10:09:32', '2016-02-03 17:09:32', 'Growing up in Atlanta, Georgia, Jane Little was drawn to music from the time she was a small child, and did everything she could to seek out musical opportunities. \"I so wanted to play the piano,\" she says in her Southern drawl. \"But my family struggled during the Depression and we had no piano. I would go to the neighbors’ house to use theirs. I would try to pick out tunes and taught myself to play a little bit.\"\r\n\r\nLittle tuned in to the Metropolitan Opera radio broadcasts every Saturday afternoon, joined the glee club in junior high, and decided that she would become an opera singer. \"I was delusional at that time!\" she laughs. There was no doubt, though, that music was her passion. Atlanta didn’t yet have its own symphony, but when an orchestra toured to the city, Little was eager to attend. \"It was the first time I heard a symphony orchestra perform live,\" she recalls. \"And I was just carried away.\"\r\n\r\n<img class=\"aligncenter\" src=\"http://internationalmusician.org/wp-content/uploads/2015/08/jane-little-aso3.jpg\" alt=\"\" />\r\n<img class=\"aligncenter\" src=\"http://internationalmusician.org/wp-content/uploads/2015/08/jane-19451.jpg\" alt=\"\" />\r\n<img class=\"aligncenter\" src=\"http://internationalmusician.org/wp-content/uploads/2015/08/jane-19531.jpg\" alt=\"\" />\r\n<img class=\"aligncenter\" src=\"http://internationalmusician.org/wp-content/uploads/2015/08/jane-1955.jpg\" alt=\"\" />\r\n<img class=\"aligncenter\" src=\"http://internationalmusician.org/wp-content/uploads/2015/08/jane-1959.jpg\" alt=\"\" />\r\n<img class=\"aligncenter\" src=\"http://internationalmusician.org/wp-content/uploads/2015/08/jane-1963.jpg\" alt=\"\" />\r\n<img class=\"aligncenter\" src=\"http://internationalmusician.org/wp-content/uploads/2015/08/jane-19891.jpg\" alt=\"\" />\r\n<img class=\"aligncenter\" src=\"http://internationalmusician.org/wp-content/uploads/2015/08/jane-19921.jpg\" alt=\"\" />\r\n\r\nPhoto from The Atlanta Constitution, October 19, 1959. Original Caption: \'Husband carries her big bass violin. Mr. and Mrs. Warren Little play with Atlanta Symphony Orchestra.\r\n<h2>Facing the Bass</h2>\r\nLittle continued to sing and planned to join the high school glee club when she entered her freshman year. But the orchestra director had different plans once she saw the results of Little’s music aptitude test, which every incoming student was required to take.\r\n\r\n\"I was called to the music room, and the orchestra director asked what instrument I played,\" remembers Little, who answered that she didn’t play an instrument, but liked to sing. The director was shocked and explained that Little had scored tremendously high on the test. \"I was 14 at the time, which is a little late to start an instrument, but she asked how I would like to be an orchestra musician. I said that I would like it more than anything!\"\r\n\r\nThe orchestra was in short supply of bass players. At five feet and three inches, and weighing less than 100 pounds, Little seemed an unlikely match for the massive instrument, but she wanted to try. She struggled at first to hear the lowest pitches and could barely press down the thick E string—not to mention, even just carrying the bass around was no easy task.\r\n\r\n\"I thought, ‘Oh my gosh, this is going to be a challenge!’\" she says. \"But I was back for the next lesson, and the next, and the next.\" After just a couple months of private lessons, Little was ready to join the orchestra—and not only did she join, but she was quickly appointed principal bass.\r\n\r\nThe next year, the Atlanta Youth Symphony Orchestra was formed under the direction of Henry Sopkin, a well-known youth orchestra conductor in Chicago. Little became a member of the symphony, which performed its first concert on February 4, 1945. In retrospect, that was the beginning of her 70-plus-year career with the Atlanta Symphony Orchestra (ASO); within three years, Sopkin transformed the youth symphony into the orchestra now known as the ASO.\r\n\r\nEventually, Little met someone who happened to be able to give her a hand carrying her bass. Warren, who would become her husband, joined the orchestra’s flute section in 1948. The two had first met at the University of Georgia, but Little was engaged to a naval officer at the time. She returned to ASO after spending a summer in Chicago studying with a great bass teacher from the Chicago Symphony Orchestra, and Warren noticed that Little was no longer wearing her engagement ring; she had broken her engagement in order to stay in Atlanta and continue playing with the orchestra. Warren asked her out right away. Their first date was a performance by the legendary violinist David Oistrakh.\r\n\r\n\"I must say that when I met Warren, I was very impressed that he played a small instrument, so he could carry my bass around!\" jokes Little. The couple made music together in the ASO until Warren’s retirement in 1992.\r\n<h2>Acing the Audition</h2>\r\nHenry Sopkin led ASO for 21 years, increasing the budget, adding concerts, and introducing education initiatives. When he stepped down in 1966, it was announced that Robert Shaw—an exceptional choral conductor who had been working with George Szell in Cleveland—would become the next ASO music director. Little knew that even more changes would be ahead for the orchestra. She was excited, but nervous.\r\n\r\nShaw asked to hear every member of the orchestra play individually. Little had two weeks’ notice about the audition, and she didn’t waste a minute getting to work; she knew how crucial this could be. \"I told my family that Christmas would have to be on hold that year,\" she says. \"I was practicing seven or eight hours a day, going through all the literature, doing everything I could.\"\r\n\r\nWhen she walked into the audition, Little felt immediately at ease with Shaw. She aced her audition: \"I never played better in my life!\" she exclaims. \"When I got my contract, I was overwhelmed. Robert Shaw had appointed me co-principal of the bass section.\" Little was later named assistant principal bass, and now holds emeritus status for that position.\r\n\r\nUnder Shaw’s watch, the ASO continued to build its reputation. Little can list off an impressive roster of guest soloists and conductors she has performed with—Nathan Milstein, Isaac Stern, Benny Goodman, Igor Stravinsky, Aaron Copland, and many more.\r\n\r\nOne of her favorite memories is of a sold-out concert with pianist Arthur Rubinstein, who was playing the Tchaikovsky Piano Concerto. \"He plays the first big chords of the concerto, and all of a sudden, the piano starts rolling toward the end of the stage,\" she recalls. \"The people in the first rows were scattering. Everyone was just in horror!\" Thankfully, the piano caught in the footlights, which kept it from crashing off the stage, and Rubenstein took it all in stride. Once the piano had been secured, the show went on.\r\n\r\nThe show went on for Little, too, as ASO became a full-time orchestra and gained international renown. She played under Yoel Levi, who became music director in 1988 and \"brought the orchestra to new heights,\" Little says. He was followed by Robert Spano of Local 148-462 (Atlanta, GA), who took over in 2000. \"Through two major lockouts in the last four years, Spano has remained a friend and supporter to the musicians,\" she says. \"He was determined to maintain the orchestra’s status as a major symphony.\"\r\n\r\nEarlier in her career, piecing together a living was a bit more unpredictable. \"Back then, when the orchestra was still part-time, you would go and beat the bushes for work,\" she says. For 15 years, Little played with Theater of the Stars, where she was the only woman in the band. She taught private bass lessons and even saw one of her students grow up to join the ASO.\r\n\r\nShe’s played for opera companies, and remembers times when she was the only bass player in the pit, and had her instrument amped. She also played with the Savannah Philharmonic Orchestra, often making the four-hour drive with a group of fellow ASO musicians late at night after an ASO concert or rehearsal, in order to be ready for a rehearsal in Savannah the next morning. \"You did what you had to do,\" she states matter-of-factly.\r\n<h2>Chasing the Record</h2>\r\nLittle, who belongs to Local 148-462, is grateful to the AFM, as well as the International Conference of Symphony Orchestra Musicians (ICSOM), formed in 1962, for improving working conditions for orchestra musicians. She has witnessed the positive changes to audition procedures, tenure, and the musicians’ ability to weather strikes and lockouts.\r\n\r\nLittle has done her share of walking the picket lines and remembers her husband’s determination to negotiate fair contracts—even if it meant late-night phone calls and meetings—when he served as president of the local. \"It’s great protection to be a member of the AFM—the union is your friend!\" she says. \"It brings greater stability to our careers.\"\r\n\r\nLittle has now completed her 70th season with ASO, setting the record as the orchestral musician with the longest-running career, despite enduring several injuries and challenges over the years. At a certain point, she explains, she knew that she had to keep playing because she was so close to that goal. \"To be absolutely sure [that I break the record], I’m going to play into my 71st season,\" she says, adding that she might consider retirement at some point during the season.\r\n\r\nOf course, more important than any record is the unique dedication that she shows for her instrument and for symphonic music. Even over a seven-decade career, she continues to give her all at every concert, never resting on her laurels. She was recently preparing for an ASO concert that included Mendelssohn’s \"Italian\" Symphony and noted that it was one of the first pieces she played with her high school orchestra. \"It’s still difficult!\" she says, a testament to the fact that she always reaches to grow in her artistry.\r\n\r\n\"Suppose I had been absent the day that we took that music test?\" Little wonders. \"I probably wouldn’t have this career. I must say I’ve had a charmed life.\"', 'Jane Little Traces the Steps of Her 70-Year Career', '', 'publish', 'open', 'closed', '', 'jane-little-traces-the-steps-of-her-70-year-career', '', '', '2016-02-17 16:11:50', '2016-02-17 23:11:50', '', 0, 'http://local424.afmquartet.org/?p=655', 0, 'post', '', 0),
(818, 67, '2016-02-04 07:00:13', '2016-02-04 14:00:13', '<b>Paul Chiten </b>is a Los Angeles-based songwriter, composer, producer, musician, singer and artist. His songs have gone platinum and gold. His compositions and productions have won Telly, Aurora and Emmy Awards.\r\n\r\nHe has worked with Michael Jackson, Anita Baker, Tina Turner, Donna Summer, Cyndi Lauper and countless others.\r\n\r\nPaul’s latest project is Music Director/Arranger/Performer for the 2015 EMC World event in Las Vegas.\r\n<ul>\r\n 	<li><a href=\"http://sweethartproductions.com/PaulChiten.aspx\">http://sweethartproductions.com/PaulChiten.aspx</a></li>\r\n 	<li>bio: <a href=\"https://afm424.org/featured-artist-paul-chiten/\">https://afm424.org/featured-artist-paul-chiten/</a></li>\r\n 	<li>contact:<a href=\"mailto:pchiten424@gmail.com\">pchiten424@gmail.com</a></li>\r\n</ul>\r\n<em>Michael Sasaki:</em>\r\n<em> I noticed in your bio that you’ve been on the road with the Diva of Dance, Donna </em><em>Summer! You performed in fashionable Monte Carlo. It must of been a very glamorous tour. I really like hearing “road stories.” Would you repeat that moment of ingenuity that </em><em>you told me about on the phone?</em>\r\n\r\n<strong>Paul Chiten:</strong>\r\n<strong>Ah yes. The glamour of show business.</strong>\r\n\r\nMonte Carlo was the last stop on a European tour. We played a great venue, The Sporting Club, for a week.\r\n\r\nThe band stayed at the elegant Hotel Hermitage. Quite an amazing place. First-rate accommodations. Sumptuously appointed. And where a tiny bottle of Perrier from the mini-bar is $18, and the cost to launder and iron a shirt can be $20.\r\n\r\nI had a suitcase full of dirty laundry by this time. I needed to have it cleaned, and cleaned quickly. I’d been saving my per diems for a trip to Paris right after the tour ended. In such a luxurious environment, I just couldn’t see spending a bunch of money on something as pedestrian as laundry.\r\n\r\nSo I washed a load in the bathtub of my gilded hotel room––and hung it out the window to dry.\r\n\r\nThe hotel is perched on a hill. One can get a glorious view of the structure from the road below. I was coming up that road later in the day and realized that my laundry line was clearly visible.\r\n\r\nHere was this opulent, dignified, classic European hotel––with a string of t-shirts, socks and underwear hanging out one of the windows.\r\n\r\nIt was really rather funny. Almost like a piece of Dada art. I was surprised that I wasn\'t busted for disturbing the visual peace.\r\n\r\n<em>MS:</em>\r\n<em>I\'d say, this must have added “color\" to this 5-star hotel. Like a welcoming string of </em><em>international flags for the rest of the hotel’s guests!</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>Now there’s a positive spin.</strong>\r\n\r\n<em>MS:</em>\r\n<em>What kind of</em> <em>keyboard set-up were you using?</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>In those days I performed with two keyboards and a series of rack </strong><strong>mounts.</strong>\r\n\r\nWith Donna, I recreated much of the orchestrations from the records––horns, strings, woodwinds––so I needed a large sound palette.\r\n\r\n[caption id=\"attachment_604\" align=\"alignright\" width=\"300\"]<a href=\"https://afm424.org/wp-content/uploads/2015/05/PC_Axis-PS1.jpg\"><img class=\"size-medium wp-image-604\" src=\"https://afm424.org/wp-content/uploads/2015/05/PC_Axis-PS1-300x199.jpg\" alt=\"Paul Chiten –– sound check w/Roland keytar\" width=\"300\" height=\"199\" /></a> Paul Chiten –– at sound check w/Roland keytar[/caption]\r\n\r\nMy main keyboard/controller was a modified Kurzweil K1000. The racks included a customized Kurzweil K2000R, modified Akai S900 sampler, Korg M1 and OSCar. I was on the Artist Endorsement program with Kurzweil, so they customized instruments and made custom samples for me. Great stuff. I have a library of sounds that are not available commercially.\r\n\r\nI also played a keytar by Roland. It’s a portable MIDI keyboard you strap on like a guitar. This allowed me to be mobile.\r\n\r\nThere was a spot in the show where I jumped down from my keyboard riser to the front of the stage, with this silver instrument around my neck.\r\n\r\nI launched into a keyboardist’s version of the “blistering” solo––complete with grimacing, head shaking and darting from one end of the stage to the other. It was a lot of fun.\r\n\r\nSometimes by the end of the solo I was dizzy from all the gymnastics. But that’s part of what putting on a show is about.\r\n\r\nMS:\r\n<em>Were you using MIDI and/or samples?</em>\r\n<p align=\"LEFT\"><strong>PC:</strong>\r\n<strong>Both.</strong></p>\r\n<p align=\"LEFT\">Via MIDI, my main keyboard triggered all the modules and other keyboard(s). I often combined synth patches with samples. This layered the sound, giving it more depth, and created interesting blends.</p>\r\n<em>MS:</em>\r\n<em>When a click track is used onstage, tell me what it feels like when you take a solo.</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>It’s not all that weird.</strong>\r\n\r\nFor the iconic Donna Summer songs with that disco \"dug-a-dug-a-dug-a-dug-a” ostinato synth-bass pattern (like “I Feel Love”), the drummer was fed a click through headphones, and the band followed his groove. It\'s usually more musical for a band to follow a person than a machine. I should note that one of the skills in the drummer’s job description for this gig was “must be able to make the click your friend.”\r\n\r\nI grew up doing piano exercises to a metronome––and I hated that uncompromising little clicker. But regularly playing to a tick-tock served me well down the road. I got used to knowing where the time was. Also, I’m constantly working with music sequencers, so one gets used to dealing with that inflexible, time-keeping Nazi.\r\n\r\nRegarding a solo, the adrenaline that comes with live performance can really amp up the energy, creating a tendency to rush. When there is a click, there is no way the band can respond by moving the tempo around.\r\n\r\nSo having a click can become a good exercise in learning to relax––even when taking a \"blistering\" solo.\r\n\r\n[caption id=\"attachment_602\" align=\"alignleft\" width=\"245\"]<a href=\"https://afm424.org/wp-content/uploads/2015/05/PC-Donna-PS1.jpg\"><img class=\"size-medium wp-image-602\" src=\"https://afm424.org/wp-content/uploads/2015/05/PC-Donna-PS1-245x300.jpg\" alt=\"Donna Summer &amp; Paul Chiten –– backstage\" width=\"245\" height=\"300\" /></a> Donna Summer &amp; Paul Chiten –– backstage[/caption]\r\n\r\nMS:\r\n<em>On the subject of being a lifelong professional musician; do you have advice for the older </em><em>musician that is active. but isn\'t 25 years old anymore?</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>Advice? That’s always a tricky one.</strong>\r\n\r\nI\'ll defer to my doctor here: eat good, get enough sleep––and chill on the late-night partying.\r\n\r\n<em>MS:</em>\r\n<em>Do you have a different schedule from when you were younger?</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>Oh yeah.</strong>\r\n\r\nAfter a night session or gig, I can’t stay out till the sun comes up and expect to keep a lunch meeting the following day.\r\n\r\n<em>MS:</em>\r\n<em>Since your background is disciplined in addition to being a performing musician, how do </em><em>you stay in touch with being a composer, musician, songwriter and producer?</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>Well, the main thing is that you have to still love to do it.</strong>\r\n\r\nIf the thrill is gone, the ability to make music that truly moves people tends to dim without the enthusiasm. Popular music has undergone some dramatic changes in the past few decades. Much of that change has been driven not by politics, social movements or cultural shifts, but by technology.\r\n\r\nNot only has the art of recording been through a seismic shift, but the marketing paradigm has undergone a radical redefinition as well. The one constant is that people still respond to the emotional element of music, words and sounds.\r\n\r\nIt’s been a challenge for large, longstanding music organizations to react to the changing climate, but they have indeed thrust themselves into the 21st century, offering many ways to keep up on trends.\r\n\r\nFor instance, the ASCAP Daily Brief is an bulletin I receive via email every day. It\'s loaded with 13 or more links to websites and blogs on the latest developments in music, from marketing to legal issues, to how to best sell music in our current online environment.\r\n\r\nThe Harry Fox Agency hosts online Town Hall Meetings with guest speakers on many topics that the modern music person should know. The Screen Actors Guild has regular events addressing where the entertainment biz is now, and where it is going.\r\n\r\nThe Internet has opened up avenues for exposure, marketing, promotion, sales and usage that has turned the traditional music business model on its ear.\r\n\r\nRadio is no longer the only big kid on the block.\r\n\r\nToday, when marketing a new song, you must have an Internet presence. Being available on sites like YouTube, iTunes, Spotify, Deezer, Amazon and Google Play has really become a requirement if you want your music to be heard. And companies like DistroKid and TuneCore specialize in placing your songs on the most popular streaming and downloading websites.\r\n\r\nA serious game-changer has been, of course, YouTube. When was the last time you wanted to hear a song, and didn’t find it on YouTube? Besides all the professional productions, there’s a tremendous amount of home-grown musical content; from tutorials on how to play “Hey Jude” on piano to videos teaching “It’s All About That Bass” on guitar. And that’s just for starters.\r\n\r\nAccording to YouTube’s current stats, there are 300 hours of new videos uploaded to the site every minute. There are 800 million users a month. Figures like that were unimaginable prior to the Internet age. YouTube has become so ubiquitous that it could actually qualify as a new life species.\r\n\r\nBut getting back to pre-Net planet Earth, from the 60s through the 80s, music acts toured to promote record sales, which was where the real money was. Touring was often an expensive, unprofitable venture. Now, Internet exposure has fueled interest in live shows. You can make money touring, if you are popular enough, and know how to keep your expenses from running away with the show.\r\n\r\nThe Internet has substantially widened the stylistic genre. There are many niche groups popping up all over the Internet that devote themselves to one aspect or one style of music. It’s like the wild west in cyberspace.\r\n\r\nEven less glamorous things, like talking with the young sales staff at music retailers like Sam Ash, Guitar Center or West LA Music, can yield new info. Most all of them are musicians themselves, and they are in touch with all the latest technology.\r\n\r\nThings are happening so fast now, keeping up with it all can be challenging, to say the least.\r\n\r\n<em>MS:</em>\r\n<em>I can tell by your enthusiasm that you are inspired, and by your knowledge, that you are </em><em>sharp in many areas. How do you keep your edge?</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>I continually reinforce the belief that I have something worth saying.</strong>\r\n\r\nWhether it be a new song, recent score or latest production. If I start to feel irrelevant, then I am jeopardy of imparting that vibe into the things I create.\r\n\r\n<em>MS:</em>\r\n<em>I have a question for you as a songwriter. I have a library of music and songs that I wrote </em><em>in the 70s and 80s. Is there anything I can do to generate income with it?</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>Absolutely.</strong>\r\n\r\nOne of the great things about today\'s television, movies, commercials and Internet, is that music from all eras is being licensed.\r\n\r\nHere’s just a few current television shows that regularly license songs in multiple genres:\r\n\r\nThe Comedians (FX), Modern Family (ABC), The Black List (NBC), Bones (Fox), The Good Wife (CBS), Grey’s Anatomy (ABC), CSI (CBS).\r\n\r\nIf you have good sounding recordings of your material, and control the sync/master rights, you can submit them for possible inclusion in a production. Music Supervisors are always looking for material for the projects they are connected with.\r\n\r\nIf your track is used, you get a synch/master-use fee upfront and royalties on the back end. Performing rights societies BMI, ASCAP and SESAC will have more information on how licensing works. If you are not a member of one of these organizations, you can join as a songwriter for free.\r\n\r\n[caption id=\"attachment_603\" align=\"alignleft\" width=\"300\"]<a href=\"https://afm424.org/wp-content/uploads/2015/05/PC-On-Train-.jpg\"><img class=\"size-medium wp-image-603\" src=\"https://afm424.org/wp-content/uploads/2015/05/PC-On-Train--300x238.jpg\" alt=\"On the road in Russia with the Songwriters Summit Cyndi Lauper––Jerry Knight––Paul Chiten––Franke Previte\" width=\"300\" height=\"238\" /></a> On the road in Russia with the Songwriters Summit<br />Cyndi Lauper––Jerry Knight––Paul Chiten––Franke Previte[/caption]\r\n\r\n<em>\r\nMS:</em>\r\n<em>In my early days, it was sheer enthusiasm for the music and the work to be done that </em><em>kept me going. Now I\'d like to know how other musicians stay on top of their craft.</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>You have to stay on top of your craft, or your craft might get on top of </strong><strong>you.</strong>\r\n\r\nI keep my ear tilted towards what’s happening now, and where that might be leading in the future. But that’s only part of it.\r\n\r\nFor many years I was signed as a songwriter. Publishers want their songwriters to compose hits, because that’s where the money is. They are, after all, in business to make money––or fetti, scrilla, gwop, cheddar, bank––whatever you want to call it. And we artists need to make a living, too.\r\n\r\nThere is always pressure to try to duplicate something that\'s already successful. Songwriters call it “chasing the hit.” However, it’s not necessary to follow every popular movement just because it happens to be trending that week. I do stay open to what’s going on, and plugging in the elements that I find appealing into my own sound. But I’m not a slave to fashion for fashion’s sake.\r\n\r\nThere is actually more diversity in popular music now than in any previous era. Not only in the variety of sounds and styles that are out there, but the playing field has changed. A large record label is no longer necessary to launch an artist, band or song. Savvy Internet marketing can create a buzz that formerly took huge amounts of corporate promotion money and aggressive marketing to achieve.\r\n\r\nHey, there will always be somebody coming down the pike who can play faster licks, compose catchier hooks, jump further or fly higher. My goal has always been to cultivate something that is uniquely mine.\r\n\r\nThat way, <i>nobody will be able to do me –– quite as well as me.</i>', 'Sasaki Speaks to . . . Paul Chiten', 'Paul Chiten is a Los Angeles-based songwriter, composer, producer, musician, singer and artist. His songs have gone platinum and gold. His compositions have won Telly, Aurora and Emmy Awards. He has worked with Michael Jackson, Anita Baker, Tine Turner, Donna Summer, Cyndi Lauper and countless others.', 'publish', 'open', 'closed', '', 'sasaki-speaks-to-paul-chiten', '', '', '2016-07-28 19:40:14', '2016-07-29 02:40:14', '', 0, 'http://afm424.digiminddesign.com/?p=818', 0, 'post', '', 4);
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(813, 2, '2015-09-07 08:40:45', '2015-09-07 15:40:45', '<div>\r\n<div>\r\n<div>PAUL CHITEN website home page:</div>\r\n<div><b><a href=\"http://www.sweethartproductions.com/\">sweethartproductions.com</a></b></div>\r\n<div>\r\n<div>\r\n<div>PAUL CHITEN website personal page:</div>\r\n<div><a href=\"http://sweethartproductions.com/PaulChiten.aspx\"><b>http://sweethartproductions.com/PaulChiten.aspx</b></a></div>\r\n</div>\r\n</div>\r\n</div>\r\n</div>\r\n<div>\r\n<div>PAUL CHITEN business email:\r\n<a href=\"mailto:pc@sweethartproductions.com\"><b>pc@sweethartproductions.com</b></a></div>\r\n<div></div>\r\n</div>\r\n&nbsp;\r\n\r\n<strong>Music &amp; Technology Talents</strong>\r\n\r\n• Composer • Arranger • Producer • Songwriter • Performer • Conductor • Musician\r\n• Vocalist • MIDI Programmer • Sound Designer • Computer Consultant\r\n• Primary Instruments: Piano &amp; Synthesizers\r\n• Other Instruments: Electric Guitar, Acoustic Guitar, Bass, Flute, Organ, Harmonica,\r\nVibes, Harpsichord, Recorder, Harmonium, Drums, Marimba, Percussion, Didgeridoo\r\n\r\n[playlist ids=\"1796,1798,1825\"]\r\n\r\n<strong>A Few Highlights</strong>\r\n<ul>\r\n 	<li>Composer/Arranger/Performer/Musical Director for EMC World show, Las Vegas, 2014-2015-2016-2017</li>\r\n 	<li>Music for “The Carrie Diaries,” CW Network, 2013-2014</li>\r\n 	<li>Won a 2008 Daytime Emmy for Nickelodeon’s top-rated show, “The Wonder Pets!” for Outstanding  Achievement in Music Direction and Composition.</li>\r\n 	<li>Winner of two 2008 Telly Awards for Outstanding Achievement in Music</li>\r\n 	<li>Composed, Performed &amp; Produced music for the new video game “Spy Bots” from Bionic Games</li>\r\n 	<li>Winner of three 2005 Telly Awards for Best Television Commercial</li>\r\n 	<li>Winner of 2005 Aurora Platinum Award for Best Commercial</li>\r\n 	<li>Arranged &amp; Performed the Main Title music for the CBS Movie,  “Helter Skelter” Co-produced with “X-Files” composer  Mark Snow. Music for the show was nominated for an Emmy Award</li>\r\n 	<li>Producer/Performer/Co-Composer for Sony/Showtime television series, “Street Time.”</li>\r\n 	<li>Music Director, Arranger and Performer for Cisco Systems Show, Las Vegas</li>\r\n 	<li>Composed and Produced the theme music that daily opens and closes “The Tokyo Stock Exchange”</li>\r\n 	<li>Musical Director and Performer, “Crystal Palace,” Tokyo, Japan</li>\r\n 	<li>Musical Director for featured show at “Windows Of The World” Amphitheatre, China</li>\r\n 	<li>Music Publishing deal with Fuji Pacific</li>\r\n 	<li>Worked with composer Mike Stoller on the definitive music arrangements for the “Elvis Presley Sings Lieber &amp;  Stoller Songbook”</li>\r\n 	<li>South American tour with Donna Summer, Keyboards and Vocals</li>\r\n 	<li>European tour with Donna Summer, Keyboards and Vocals</li>\r\n 	<li>African tours with my band, “Angel City”</li>\r\n 	<li>Music Publishing deal with Paramount/Famous Music</li>\r\n 	<li>Member of the Songwriter’s Summit excursion to Russia with  “Music Speaks Louder Than Words” project. Album on Epic Records</li>\r\n 	<li>Featured in the television mini-series “Makin’ Music,” which won an Emmy Award</li>\r\n</ul>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"123\"><strong>Film &amp; Television</strong>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"203\"><strong>The Carrie Diaries</strong></td>\r\n<td width=\"211\">CW Network</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Street Time</strong></td>\r\n<td width=\"211\">Sony/Showtime</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Dawson’s Creek</strong></td>\r\n<td width=\"211\">Columbia/Tri-Star/Warner Brothers</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Helter Skelter </strong>(main title)</td>\r\n<td width=\"211\">CBS Movie</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Law &amp; Order</strong></td>\r\n<td width=\"211\">NBC</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Wonder Pets</strong></td>\r\n<td width=\"211\">Nickelodeon</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Saving Milly</strong></td>\r\n<td width=\"211\">CBS Movie Of The Week</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Tokyo Stock Exchange</strong></td>\r\n<td width=\"211\">Music for Nikkei Exchange</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Software AG Show</strong></td>\r\n<td width=\"211\">Music Director, Arranger and Performer</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Spring Break Shark Attack</strong></td>\r\n<td width=\"211\">CBS Movie Of The Week</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Coming To America</strong></td>\r\n<td width=\"211\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Beyond Chance</strong></td>\r\n<td width=\"211\">Lifetime</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Witness</strong></td>\r\n<td width=\"211\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Queen’s Logic</strong></td>\r\n<td width=\"211\">Universal</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>True Colors</strong></td>\r\n<td width=\"211\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Santa Barbara</strong></td>\r\n<td width=\"211\">NBC</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>The Jew In The Lotus</strong>(score)</td>\r\n<td width=\"211\">Blind Dog Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>New Attitude</strong></td>\r\n<td width=\"211\">ABC</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Distant Thunder</strong></td>\r\n<td width=\"211\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Woman On The Run</strong></td>\r\n<td width=\"211\">NBC Mini-Series</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Lame Ducks</strong></td>\r\n<td width=\"211\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Hollywood Beat</strong></td>\r\n<td width=\"211\">Aaron Spelling/ABC</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Transylvania 6-5000</strong></td>\r\n<td width=\"211\">New World</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Bad Guys</strong></td>\r\n<td width=\"211\">Tomorrow Entertainment</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Street Smart</strong></td>\r\n<td width=\"211\">Cannon</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Sweet Poison</strong> (score)</td>\r\n<td width=\"211\">Universal</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Los Angeles Olympics</strong>(score)</td>\r\n<td width=\"211\">Master Arts</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Fantasy Chamber </strong>(score)</td>\r\n<td width=\"211\">Ultimate</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Intellidex </strong>(LaserDisc score)</td>\r\n<td width=\"211\">Post Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Erotic Visions </strong>(score)</td>\r\n<td width=\"211\">Ultimate</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Pulsebeat </strong>(score)</td>\r\n<td width=\"211\">Calla Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Intersil </strong>(score)</td>\r\n<td width=\"211\">General Electric</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Technics </strong>(score)</td>\r\n<td width=\"211\">Technics Ltd.</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Marbella </strong>(score)</td>\r\n<td width=\"211\">Calla Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Fame</strong></td>\r\n<td width=\"211\">ABC</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"></td>\r\n<td width=\"211\"></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong>Trailers</strong>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"241\"><strong>Slingblade</strong></td>\r\n<td width=\"172\">Miramax</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Let The Devil Wear Black</strong></td>\r\n<td width=\"172\">Trimark</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Joe The King</strong></td>\r\n<td width=\"172\">Trimark</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>The Cape</strong></td>\r\n<td width=\"172\">MTM Television</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>The Blood Oranges</strong></td>\r\n<td width=\"172\">Trimark Pictures</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Witness</strong></td>\r\n<td width=\"172\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Mona Lisa</strong></td>\r\n<td width=\"172\">Island Pictures</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>River’s Edge</strong></td>\r\n<td width=\"172\">New World</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Jimmy Reardon</strong></td>\r\n<td width=\"172\">Island Pictures</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Sweet Lies</strong></td>\r\n<td width=\"172\">Island Pictures</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Rocky IV</strong></td>\r\n<td width=\"172\">CBS/Fox</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Pope of Greenwich Village</strong></td>\r\n<td width=\"172\">United Artists</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong>Commercials</strong>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"241\"><strong>Armani Olympiad</strong></td>\r\n<td width=\"172\">Giorgio Armani</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Relax</strong></td>\r\n<td width=\"172\">Ford</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Countrywide</strong></td>\r\n<td width=\"172\">Countrywide</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Port Of Los Angeles</strong></td>\r\n<td width=\"172\">M-Creative</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>The Bus Ride</strong></td>\r\n<td width=\"172\">Big Star Jeans</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Just Can’t Wait</strong></td>\r\n<td width=\"172\">Toyota</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Metro Parks</strong></td>\r\n<td width=\"172\">Ohio State Parks</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Island Presents</strong></td>\r\n<td width=\"172\">Island Pictures</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Season Theme</strong></td>\r\n<td width=\"172\">Oakland A’s</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Attitude</strong></td>\r\n<td width=\"172\">Gotcha Jeans</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Prom Fantasy</strong></td>\r\n<td width=\"172\">Elektra Casadei Designs</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Logo Theme</strong></td>\r\n<td width=\"172\">Pathe</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong>Video</strong>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"261\"><strong>Spy Bots</strong> (video game)</td>\r\n<td width=\"152\">Bionic Games</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Fighter Squadron</strong> (video game)</td>\r\n<td width=\"152\">Activision</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Faster Faster</strong></td>\r\n<td width=\"152\">MTV</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Girls Of Radio</strong> •Talk,Rock &amp; Shock</td>\r\n<td width=\"152\">Playboy Entertainment</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>London Nights</strong></td>\r\n<td width=\"152\">Trikilis Productions</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>On Campus</strong> (score)</td>\r\n<td width=\"152\">Warner Vision</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Beyond Vaudeville</strong></td>\r\n<td width=\"152\">Exotic World</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Art of Massage</strong> (score)</td>\r\n<td width=\"152\">Warner Vision</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Bump &amp; Grind</strong> • History of Burlesque</td>\r\n<td width=\"152\">Sheba Productions</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Poison Letter</strong></td>\r\n<td width=\"152\">MTV</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Paris Lights</strong></td>\r\n<td width=\"152\">Trikilis Productions</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<strong> </strong>\r\n\r\n<strong>Studio &amp; Production</strong>\r\n\r\n<em>Composed, Arranged, Produced, Performed, Programmed or Sound Designed for:</em>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"128\">Michael Jackson</td>\r\n<td width=\"120\">Natalie Cole</td>\r\n<td width=\"149\">Anita Baker</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Tina Turner</td>\r\n<td width=\"120\">Alice Cooper</td>\r\n<td width=\"149\">Brenda Russell</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Donna Summer</td>\r\n<td width=\"120\">Cyndi Lauper</td>\r\n<td width=\"149\">LA Law</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Pointer Sisters</td>\r\n<td width=\"120\">The Breakfast Club</td>\r\n<td width=\"149\">Vince Neil (Motley Crue)</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Commodores</td>\r\n<td width=\"120\">Kokopop</td>\r\n<td width=\"149\">Skin Deep</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Lou Rawls, Jr</td>\r\n<td width=\"120\">Marvin Gaye, Jr.</td>\r\n<td width=\"149\">Alisha</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Glass</td>\r\n<td width=\"120\">Phil Perry</td>\r\n<td width=\"149\">Santa Barbera</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Five Star</td>\r\n<td width=\"120\">Julian Lennon</td>\r\n<td width=\"149\">Fame</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">NBC</td>\r\n<td width=\"120\">Solid Gold</td>\r\n<td width=\"149\">CBS</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">B.D. Fox &amp; Friends</td>\r\n<td width=\"120\">ABC</td>\r\n<td width=\"149\">Court TV</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Warner Brothers</td>\r\n<td width=\"120\">Fox Television</td>\r\n<td width=\"149\">Propaganda Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Universal</td>\r\n<td width=\"120\">Cucoloris Films</td>\r\n<td width=\"149\">McClatchy Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Phil Perry</td>\r\n<td width=\"120\">Flicker Films</td>\r\n<td width=\"149\">Lifetime</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Herbie Hancock</td>\r\n<td width=\"120\">History Channel</td>\r\n<td width=\"149\">Andre Fisher</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Phil Ramone</td>\r\n<td width=\"120\">KPIX</td>\r\n<td width=\"149\">Saatchi &amp; Saatchi</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Jimmy Iovine</td>\r\n<td width=\"120\">Young &amp; Rubicam</td>\r\n<td width=\"149\"></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong>Musical Director</strong>\r\n\r\n•   EMC World show, Las Vegas\r\n\r\n•   Television series “Makin’ Music,” which won an Emmy Award.\r\n\r\n•   Cisco Annual Corporate Show, Las Vegas\r\n\r\n•   Sweethart Productions\r\n\r\n•   The Commodores, conductor &amp; arranger\r\n\r\n•   Software AG Annual Corporate Show, Orlando\r\n\r\n•   Headline show at “Windows Of The World” Amphitheater, China\r\n\r\n•   Oracle Show at the Los Angeles Convention Center\r\n\r\n•   Deltek Annual Corporate Show, Nashville\r\n\r\n•   The band “Angel City,” multiple tours of Africa\r\n\r\n•   The band “PC2000,” launching MTV’s “Basement Tapes” series.\r\n\r\n•   Television series “Zoom,” WGBH\r\n\r\n•   Production company “Hot Spoons Productions”\r\n\r\n•   Los Angeles Olympics Master Arts Show\r\n\r\n<strong>\r\nSongs</strong>\r\n\r\nMaster Produced (*) by Paul Chiten\r\nMaster co-Produced (**) by Paul Chiten\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"123\"><strong>Title</strong></td>\r\n<td width=\"115\"><strong>Artist</strong></td>\r\n<td width=\"156\"><strong>Label</strong></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Can’t Wait Another Minute</strong></td>\r\n<td width=\"115\">Five Star</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Lewis Sisters</td>\r\n<td width=\"156\">Riva</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Aina</td>\r\n<td width=\"156\">Polydor</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Ain’t Crack</td>\r\n<td width=\"156\">Disney</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Patti Brooks</td>\r\n<td width=\"156\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Dance Chart</td>\r\n<td width=\"156\">Telstar</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Five Star’s Greatest Hits</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Now Dance</td>\r\n<td width=\"156\">EMI/Virgin</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Drive My Car (Til Sunset)</strong></td>\r\n<td width=\"115\">Brenda Russell</td>\r\n<td width=\"156\">A&amp;M</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Come Into My Life</strong></td>\r\n<td width=\"115\">Laura Branigan</td>\r\n<td width=\"156\">Atco</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">The Imperials</td>\r\n<td width=\"156\">Starsong</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Chikaco Sawada</td>\r\n<td width=\"156\">Taurus</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Dancing With A Stranger</strong></td>\r\n<td width=\"115\">Cyndi Lauper</td>\r\n<td width=\"156\">Epic</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Real Life</strong></td>\r\n<td width=\"115\">Pointer Sisters</td>\r\n<td width=\"156\">Motown</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Get Ethnic</strong></td>\r\n<td width=\"115\">Donna Summer</td>\r\n<td width=\"156\">Atlantic</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Hollywood Beat</strong></td>\r\n<td width=\"115\">Natalie Cole</td>\r\n<td width=\"156\">ABC/Aaron Spelling</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>One Step Closer</strong></td>\r\n<td width=\"115\">Starpoint</td>\r\n<td width=\"156\">Elecktra</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Together</strong></td>\r\n<td width=\"115\">Mickey Thomas (Starship)</td>\r\n<td width=\"156\">Epic</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Seduction</strong></td>\r\n<td width=\"115\">Sam Riney</td>\r\n<td width=\"156\">Spindletop</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Are My Angel</strong></td>\r\n<td width=\"115\">Myrah Kay</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Party-2-Go</strong></td>\r\n<td width=\"115\">Ram Jam**</td>\r\n<td width=\"156\">Universal</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Show Me</strong></td>\r\n<td width=\"115\">Glass*</td>\r\n<td width=\"156\">BMG</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Minako Tanaka</td>\r\n<td width=\"156\">Japan Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Tango</strong></td>\r\n<td width=\"115\">Laima</td>\r\n<td width=\"156\">MCA / GRP</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Transylvania 6-5000</strong></td>\r\n<td width=\"115\">Paul Chiten*</td>\r\n<td width=\"156\">New World</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Snap Dance</strong></td>\r\n<td width=\"115\">New Fifth Dimension</td>\r\n<td width=\"156\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Hand Tools*</td>\r\n<td width=\"156\">Casablanca</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>For Members</strong><strong>Only</strong></td>\r\n<td width=\"115\">Imagination</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Love Will Talk</strong></td>\r\n<td width=\"115\">Alisha</td>\r\n<td width=\"156\">MCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Solveg Angelic</td>\r\n<td width=\"156\">Intermediate</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>All Over Again</strong></td>\r\n<td width=\"115\">Jose Feliciano*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>First In Line</strong></td>\r\n<td width=\"115\">Jaki Graham</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Fame*</td>\r\n<td width=\"156\">ABC</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>It’s A Wild World</strong></td>\r\n<td width=\"115\">Tonio K.</td>\r\n<td width=\"156\">Warner Brothers</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Shocking Behavior</strong></td>\r\n<td width=\"115\">Hand Tools*</td>\r\n<td width=\"156\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Suzi Quatro*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Target Practice</strong></td>\r\n<td width=\"115\">Aina</td>\r\n<td width=\"156\">Polydor</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Courting Disaster</strong></td>\r\n<td width=\"115\">Paul Chiten*</td>\r\n<td width=\"156\">Casablanca</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Patterns In Peru</td>\r\n<td width=\"156\"></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>I’ll Move The World</strong></td>\r\n<td width=\"115\">Gennaro*</td>\r\n<td width=\"156\">CBS</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Girls Don’t Lie</strong></td>\r\n<td width=\"115\">Alisha</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">George McCrae</td>\r\n<td width=\"156\">Ariola</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Only In Your Arms</strong></td>\r\n<td width=\"115\">DeVere*</td>\r\n<td width=\"156\">Cannon</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>I’ve Got Your Number</strong></td>\r\n<td width=\"115\">Ondrea**</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Move Over, I’m Driving</strong></td>\r\n<td width=\"115\">Jane Edwards</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>The Melting Point</strong></td>\r\n<td width=\"115\">Lewis Sisters</td>\r\n<td width=\"156\">Riva</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Yoko Oginome</td>\r\n<td width=\"156\">VIctor</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Mocha*</td>\r\n<td width=\"156\"></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Somebody Wants You</strong></td>\r\n<td width=\"115\">Mendy Lee</td>\r\n<td width=\"156\">Jacksons Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Man On The Street</strong></td>\r\n<td width=\"115\">PC2000*</td>\r\n<td width=\"156\">HSRecords</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Mike Hegedus*</td>\r\n<td width=\"156\"></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Every Time We Kiss</strong></td>\r\n<td width=\"115\">Sam Riney</td>\r\n<td width=\"156\">Spindletop</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Over The Top</strong></td>\r\n<td width=\"115\">Mocha*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Tell Me How You </strong><strong>Like It </strong></td>\r\n<td width=\"115\">Minako Tanaka</td>\r\n<td width=\"156\">Japan Records</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Vivien</td>\r\n<td width=\"156\">Funhouse</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Whatcha Gonna Do</strong><strong>About It</strong></td>\r\n<td width=\"115\">Yvonne Jackson</td>\r\n<td width=\"156\">Ichiban</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Suzette Charles**</td>\r\n<td width=\"156\"></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Before It Rains Again</strong></td>\r\n<td width=\"115\">Patrick DuPont</td>\r\n<td width=\"156\">Off The Wall</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Weekend Pain</strong></td>\r\n<td width=\"115\">Minako Tanaka</td>\r\n<td width=\"156\">Japan Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Some Day</strong></td>\r\n<td width=\"115\">Paul Chiten*</td>\r\n<td width=\"156\">ABC</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>The Truth About Angel</strong></td>\r\n<td width=\"115\">Suzi Quatro*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Sleeping In The Moon</strong></td>\r\n<td width=\"115\">Hiromi Asai</td>\r\n<td width=\"156\">Funhouse</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>The Truth About Angel</strong></td>\r\n<td width=\"115\">Suzi Quatro*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Too Far Too Fast</strong></td>\r\n<td width=\"115\">The Heat</td>\r\n<td width=\"156\">MDM</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Set Me In Motion</strong></td>\r\n<td width=\"115\">Tricia Burton</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Old Enough To</strong><strong>Know Better</strong></td>\r\n<td width=\"115\">Jacqui Berne</td>\r\n<td width=\"156\">Rick Wake Productions</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Patti Day</td>\r\n<td width=\"156\">Starway</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Got My Attention</strong></td>\r\n<td width=\"115\">Angie Gold</td>\r\n<td width=\"156\">Alfa</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Witch’s Trap</strong></td>\r\n<td width=\"115\">Akemi Ishi</td>\r\n<td width=\"156\">CBS</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Have You Ever</strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>When I Look At You</strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>The Poetry Of Sex</strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Vanilla Latte</strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>So Deep </strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Perfect World  </strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>More Than Just Friends </strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Mindworker</strong></td>\r\n<td width=\"115\">Paul August*</td>\r\n<td width=\"156\">John Paul Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Emergency</strong></td>\r\n<td width=\"115\">PC2000*</td>\r\n<td width=\"156\">Jump Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>There Must Be A God</strong></td>\r\n<td width=\"115\">Rhetta Hughs</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Erotic Visions (album)</strong></td>\r\n<td width=\"115\">Paul Chiten*</td>\r\n<td width=\"156\">Playfull</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Poet For The Moonlight</strong></td>\r\n<td width=\"115\">Jose Feliciano*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Fantasy Chamber (album)</strong></td>\r\n<td width=\"115\">Paul Chiten*</td>\r\n<td width=\"156\">Playfull</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>A Woman Like Me</strong></td>\r\n<td width=\"115\">Soul Tarot*</td>\r\n<td width=\"156\">B Street</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Seditious Philosophies (album)</strong></td>\r\n<td width=\"115\">Steve Dolmer*</td>\r\n<td width=\"156\">Sony</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Are My Angel</strong></td>\r\n<td width=\"115\">Andrea Robinson*</td>\r\n<td width=\"156\">LDH Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>What Is Sex</strong></td>\r\n<td width=\"115\">Tahlia Loren*</td>\r\n<td width=\"156\">LS Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>So Crazy In Love</strong></td>\r\n<td width=\"115\">Robin Taylor*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Whatever It Takes</strong></td>\r\n<td width=\"115\">Robin Taylor*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Sedative</strong></td>\r\n<td width=\"115\">Robin Taylor*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Hearts Under Fire</strong></td>\r\n<td width=\"115\">Gennaro*</td>\r\n<td width=\"156\">CBS</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>I’ll Move The World</strong></td>\r\n<td width=\"115\">Gennaro*</td>\r\n<td width=\"156\">CBS</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Are My Angel </strong></td>\r\n<td width=\"115\">Myrah Kay</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Take It All  </strong></td>\r\n<td width=\"115\">Heidi Swan</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>As Real As It Gets</strong></td>\r\n<td width=\"115\">Heidi Swan</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>No More Borken Dreams</strong></td>\r\n<td width=\"115\">Heidi Swan</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>It Takes A Lot To Love </strong></td>\r\n<td width=\"115\">Heidi Swan</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Are my Angel</strong></td>\r\n<td width=\"115\">Myrah Kay</td>\r\n<td width=\"156\">Avex</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong>Education</strong>\r\n•  Mills College, Masters Degree in Music Composition\r\n•  Brown University, Bachelor’s Degree\r\n•  Harvard University, Special Arts Program\r\n•   University Of California at San Diego\r\n•  New England Conservatory Of Music\r\n•  Berklee School Of Music\r\n•   Private Piano &amp; Composition Study\r\n\r\n<strong>\r\nLecturing &amp; Publications</strong>\r\n\r\n• <strong>UCLA </strong>\r\nTopic: Music For Visuals\r\n\r\n•<strong> Musician’s Institute </strong>\r\nTopic: Music Composition Using MIDI &amp; Computers\r\n\r\n•<strong> National Academy of Songwriters</strong>\r\nTopic: Record Deals For New Artists\r\n\r\n•<strong> Mix Magazine</strong>\r\nTopic: The Importance Of Pre-Production\r\n\r\n•<strong> Songwriter’s Expo</strong>\r\nTopic: The Promotion &amp; Marketing of New Music\r\n\r\n• <strong>San Luis Obispo Dept. of Corrections Outreach Program </strong>\r\nTopic: World Music\r\n\r\n• <strong>Los Angeles Songwriters Showcase </strong>\r\nTopic: Modern Songwriting\r\n\r\n• <strong>South By Southwest Music Conference – BMI Guest Speaker </strong>\r\nTopic: Music Composition For Different Genres\r\n\r\n• <strong>N.A.M.M Show</strong>\r\nTopic: Producing New Artists\r\n\r\n•<strong> A.E.S Show</strong>\r\nTopic: Music &amp; The Internet\r\n\r\n• <strong>Digital Living Room High Technology Convention </strong>\r\nTopic: Music &amp; Technology\r\n\r\n• <strong>National Music Educators Convention – Keynote Speaker</strong>\r\nTopic: The Future of Music\r\n<div></div>\r\n<div>PAUL CHITEN website home page:</div>\r\n<div><b><a href=\"http://sweethartproductions.com/\" target=\"_blank\">sweethartproductions.com</a></b></div>\r\n<div>PAUL CHITEN website personal page:</div>\r\n<div><b>http://sweethartproductions.com/PaulChiten.aspx</b></div>\r\n<div>PAUL CHITEN business email:\r\n<a href=\"mailto:pc@sweethartproductions.com\"><b>pc@sweethartproductions.com</b></a></div></td>\r\n</tr>\r\n</tbody>\r\n</table>', 'Featured Artist – Paul Chiten', 'Paul Chiten is a Los Angeles-based songwriter, composer, producer, musician, singer and artist. His songs have gone platinum and gold. His compositions and productions have won Telly, Aurora and Emmy Awards. He has worked with Michael Jackson, Anita Baker, Tina Turner, Donna Summer, Cyndi Lauper and countless others.', 'publish', 'open', 'closed', '', 'featured-artist-paul-chiten', '', '', '2017-04-05 19:15:32', '2017-04-06 02:15:32', '', 0, 'http://afm424.digiminddesign.com/?p=813', 0, 'post', '', 4),
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(856, 2, '2015-08-07 10:06:28', '2015-08-07 17:06:28', '<a href=\"https://afm424.org/wp-content/uploads/2015/08/West-County-Time-424-Article-p1.jpg\"><img class=\" size-medium wp-image-659 alignleft\" src=\"https://afm424.org/wp-content/uploads/2015/08/West-County-Time-424-Article-p1-213x300.jpg\" alt=\"West County Time 424 Article p1\" width=\"213\" height=\"300\" /></a><a href=\"https://afm424.org/wp-content/uploads/2015/08/West-County-Time-424-Article-p2.jpg\"><img class=\" size-medium wp-image-660 alignleft\" src=\"https://afm424.org/wp-content/uploads/2015/08/West-County-Time-424-Article-p2-213x300.jpg\" alt=\"West County Time 424 Article p2\" width=\"213\" height=\"300\" /></a>', 'Union Taps Out Richmond History', '', 'draft', 'open', 'closed', '', 'union-taps-out-richmond-history', '', '', '2015-09-29 12:29:11', '2015-09-29 19:29:11', '', 0, 'http://afm424.digiminddesign.com/?p=856', 0, 'post', '', 0),
(865, 2, '2015-09-29 12:29:10', '0000-00-00 00:00:00', '<a href=\"https://afm424.org/wp-content/uploads/2014/10/2014-15-AWCWS1.pdf\">2014-15 AWCWS</a>', '424 look at Local 6 wage scale', '', 'draft', 'open', 'closed', '', '', '', '', '2015-09-29 12:29:10', '2015-09-29 19:29:10', '', 0, 'http://afm424.digiminddesign.com/?p=865', 0, 'post', '', 0),
(851, 2, '2015-10-04 09:59:49', '2015-10-04 16:59:49', '<a href=\"http://www.jimnunally.com\">JIM NUNALLY </a>\r\n<a href=\"https://afm424.org/wp-content/uploads/2015/08/untitled-16-of-46.jpg\"><img class=\" size-full wp-image-678 alignleft\" src=\"https://afm424.org/wp-content/uploads/2015/08/untitled-16-of-46.jpg\" alt=\"untitled%20(16%20of%2046)\" width=\"150\" height=\"150\" /></a>How does one find success in the music business? Am I there yet?\r\nHere I am in a hotel in Sidney BC Canada. Tonight I will perform at the world famous Butchart Gardens with the Canadian based band John Reischman and <a href=\"http://www.thejaybirds.com\">The Jaybirds</a>. I have produced, performed on, or recorded, hundreds of music projects over the past 39 years. It is amazing, but have I made it? What is “it”?\r\n\r\nWhen I was 8 years old, I remember a neighborhood boy, who was about 16 years old, came to our house and asked my dad if he new anything about “blues guitar”. This would have been around 1967. I remember my father saying, “well you tune your guitar to a chord, like this...” he proceeded to do something to an old guitar we had at our house, “then you need a slide” he walked over to the silverware drawer and removed a butter knife, “then you do this...” he proceeded to play the guitar with a butter knife and his fingers. I loved it. I asked my dad to show me too. He showed me some chords and I worked on it for a while.\r\nMy grandfather on my fathers side of the family was a sharecrop farmer from Arkansas. He played the guitar and sang in a high voice. My dad learned to play guitar from him, and learned from the other farm workers in that area. They came to California during the dust bowl to find work to survive, these were the poorest of the poor. With them they brought a kind of rare commodity, music. Of the things I have been given in life, other than the deep love of my parents, this is the most rare and precious gift.\r\n\r\n[caption id=\"attachment_687\" align=\"aligncenter\" width=\"300\"]<img class=\"wp-image-687 size-medium\" src=\"https://afm424.org/wp-content/uploads/2015/08/Jim-Nell-HSBF-by-M.-Melnyck-300x207.jpeg\" alt=\"Jim &amp; Nell HSBF by M. Melnyck\" width=\"300\" height=\"207\" /> 2011 Hardly Strictly Bluegrass Festival San Francisco. Nell Robinson &amp; Jim Nunally. Listening to what Mama said.[/caption]\r\n\r\nI never studied music in a school when I was growing up. I just learned it at home and spent countless hours practicing and playing in our living room with my dad, who was a mechanic by trade. When I graduated from high school he got me a job working as a mechanic. I learned that trade from him too. That lasted a short time, two weeks, before I decided to go to school to be a welder. My insightful mother, upon learning that I was going to go to welding school, said to me, “Jimmy, have you considered studying anything else” to which I replied “what do you mean?” she said “you are a good musician, you may want to consider music school” my reply “I have to be able to make a living”.\r\n\r\nDavid Grisman Bluegrass Experience:\r\nGrass Valley Bluegrass Festival, 2015\r\n\r\n[caption id=\"attachment_686\" align=\"alignleft\" width=\"300\"]<a href=\"https://afm424.org/wp-content/uploads/2015/08/DGBX-and-Jim-GV2015.jpg\"><img class=\"size-medium wp-image-686\" src=\"https://afm424.org/wp-content/uploads/2015/08/DGBX-and-Jim-GV2015-300x199.jpg\" alt=\"Keith Little – banjo, Chad Manning – Fiddle, David Grisman – Mandolin, Sam Grisman – Bass, Jim Nunally – Guitar\" width=\"300\" height=\"199\" /></a> Keith Little – banjo, Chad Manning – Fiddle, David Grisman – Mandolin, Sam Grisman – Bass, Jim Nunally – Guitar[/caption]\r\n\r\nAt age 15 I had started to get gigs locally with bluegrass musicians in the bay area. We lived in Concord California, not the hotbed of bluegrass music, yet, there were those die hard bluegrass fans that had to have it, plus back then it was more popular in general. You would hear banjo, fiddle, mandolin, acoustic slide guitar, acoustic guitar, on a lot more popular recordings by folks like the John Denver, The Eagles, Beatles, Buck Owens, Earl Scruggs Revue, Jerry Garcia, David Grisman, etc. My background of country music that my dad had taught me, combined with the fiddle music I was learning locally, really set the bedrock for the music I still play today.\r\n\r\n[caption id=\"attachment_689\" align=\"alignright\" width=\"300\"]<img class=\"wp-image-689 size-medium\" src=\"https://afm424.org/wp-content/uploads/2015/08/Tom-Nell-Jim-Crest-Theater-300x225.jpeg\" alt=\"Tom, Nell, Jim Crest Theater\" width=\"300\" height=\"225\" /> Tom Rigney, Nell Robinson, Jim Nunally[/caption]\r\n\r\n&nbsp;\r\n\r\nSo hear I am, in a hotel in Canada. Just came back from Europe where\r\nI performed in France. Over the next few weeks I will play in Ohio, Indiana, Illinois, Minnesota, Colorado, California, Arizona. I would have never dreamed I would be doing this for a living, doing something my father taught me, my grandfather taught him, my mom recognized I was good at, and for people all over the world. How strange. I guess that is a sort of success in the music business. Have I made it?\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nJim Nunally in West Vancouver BC,\r\nCanada living the family dream.\r\n<a href=\"https://afm424.org/wp-content/uploads/2015/08/Jim-NunallyWithVocalistStage1.jpeg\"><img class=\"size-medium wp-image-688 alignleft\" src=\"https://afm424.org/wp-content/uploads/2015/08/Jim-NunallyWithVocalistStage1-253x300.jpeg\" alt=\"Jim NunallyWithVocalistStage\" width=\"253\" height=\"300\" /></a>\r\n<a href=\"http://contactjim@jimnunally.com\"> jim@jimnunally.com</a>\r\n<a href=\"http://www.jimnunally.com\">www.jimnunally.com</a>\r\n<a href=\"http://www.nellandjim.com\">www.nellandjim.com</a>\r\n<a href=\"http://www.thejaybirds.com\">www.thejaybirds.com </a>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h6>Photo taken by Jim Hegan.</h6>', 'JIM NUNALLY: Bluegrass Musician has it made.  Working, Living a Dream, Performing & Touring The World', '', 'publish', 'open', 'closed', '', 'jim-nunally-bluegrass-musician-has-made-it-working-living-a-dream-performing-touring-the-world', '', '', '2015-11-11 01:54:35', '2015-11-11 08:54:35', '', 0, 'http://afm424.digiminddesign.com/?p=851', 0, 'post', '', 1),
(863, 2, '2015-01-07 10:30:37', '2015-01-07 17:30:37', '<strong>2015 Western Conference of Locals</strong>\r\n<strong>American Federation of Musicians</strong>\r\n<h1>Friday, February 20 – Sunday, February 22, 2015 San Jose, California USA</h1>\r\nThe conference is scheduled for 1:00PM, Friday, February 20 to 12:00PM, Sunday, February 22, 2015\r\n\r\n<strong>Location</strong>:  The Sainte Claire Hotel | 302 South Market Street | San Jose CA | 95113\r\n\r\n<strong><a href=\"http://www.thesainteclaire.com/\">http://www.thesainteclaire.com/</a></strong>\r\n\r\nMichael Sasaki is the delegate attending. He will participate on\r\nthe Diversity Committee along with;\r\n\r\nChair: John Acosta; President of Local 47, Hollywood, CA.\r\nLovie Smith-Wright; President of Local 65-699, Houston, TX.\r\nTina Morrison; President of Local 105, Spokane, WA.\r\nAFM International Executive Committee(I.E.B.).\r\n\r\nFebruary 20, 2015  Friday. 1pm- 4:45pm\r\n\r\nYouTube replaces radio for source of new music.  Specific analytics used in artist\'s promotion, marketing, merchandising and touring.\r\n\r\n<a href=\"https://afm424.org/wp-content/uploads/2015/02/20150220_132527.jpg\"><img class=\" size-medium wp-image-551 alignleft\" src=\"https://afm424.org/wp-content/uploads/2015/02/20150220_132527-300x169.jpg\" alt=\"20150220_132527\" width=\"300\" height=\"169\" />\r\n</a>\r\n\r\n<a href=\"https://afm424.org/wp-content/uploads/2015/02/20150220_134015.jpg\"><img class=\" size-medium wp-image-553 alignleft\" src=\"https://afm424.org/wp-content/uploads/2015/02/20150220_134015-300x169.jpg\" alt=\"20150220_134015\" width=\"300\" height=\"169\" />\r\n</a>\r\n\r\n<a href=\"https://afm424.org/wp-content/uploads/2015/02/20150220_140357.jpg\"><img class=\" size-medium wp-image-556 alignleft\" src=\"https://afm424.org/wp-content/uploads/2015/02/20150220_140357-300x169.jpg\" alt=\"20150220_140357\" width=\"300\" height=\"169\" /></a>', '2015 Western Conference of Locals', '', 'draft', 'open', 'closed', '', '2015-western-conference-of-locals', '', '', '2015-10-07 17:22:06', '2015-10-08 00:22:06', '', 0, 'http://afm424.digiminddesign.com/?p=863', 0, 'post', '', 0),
(869, 2, '2014-10-13 10:49:52', '2014-10-13 17:49:52', '&nbsp;\r\n<p class=\"text-norm\">For nearly three decades the Spirit of \'29 has been pleasing audiences with its hot brand of exuberant Dixieland Jazz. Folks of all ages clap their hands, tap their feet and get up and dance.</p>\r\n<p class=\"text-norm\">Let the Spirit of \'29 turn your party into a memorable celebration, bring excitement and attention to your promotional event, or turn your street fair into a festival. Available with 4 to 8 Musicians.</p>\r\n<p class=\"text-norm\">The Spirit of \'29 performs regularly at:</p>\r\n\r\n<ul>\r\n	<li class=\"text-list\">Corporate and Promotional Events</li>\r\n	<li class=\"text-list\">Weddings and Private Parties</li>\r\n	<li class=\"text-list\">Summer Concert Series</li>\r\n	<li class=\"text-list\">Outdoor Festivals and Parades and much more!</li>\r\n</ul>\r\n<p class=\"text-norm\">Our Model \"A\" Ford Flatbed Truck as a stationary or mobile stage makes our show fun for the eyes as well as the ears!  Call or email<em><strong> Eliot Kenin</strong></em>; 800.965.1302.  <em><strong>eliotkenin@yahoo.com</strong></em>  or visit <strong><a href=\"http://www.spiritof29.com\">www.spiritof29.com</a></strong><a title=\"www.spirit29.com link\" href=\"http://www.spiritof29.com/\" target=\"_blank\"><img class=\"alignright wp-image-305 size-medium\" src=\"https://afm424.org/wp-content/uploads/2014/10/Spirit-of-29-logo-red1-300x48.gif\" alt=\"Spirit of 29 logo red\" width=\"300\" height=\"48\" /></a></p>\r\n<p class=\"text-norm\"><a href=\"https://afm424.org/wp-content/uploads/2015/08/20150808_121307.jpg\"><img class=\"size-medium wp-image-666 alignleft\" src=\"https://afm424.org/wp-content/uploads/2015/08/20150808_121307-300x169.jpg\" alt=\"424 President, Eliot Kenin\" width=\"300\" height=\"169\" /></a></p>\r\n<p class=\"text-norm\"><a href=\"https://afm424.org/wp-content/uploads/2015/08/20150808_121307.jpg\">\r\n</a></p>', 'For Hire: The Spirit of 29. Hot Dixieland Jazz', '', 'publish', 'open', 'closed', '', 'for-hire-the-spirit-of-29-hot-dixieland-jazz', '', '', '2015-11-11 01:54:41', '2015-11-11 08:54:41', '', 0, 'http://afm424.digiminddesign.com/?p=869', 0, 'post', '', 1),
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(741, 4, '2015-08-29 13:22:27', '2015-08-29 20:22:27', '', 'Members Only', '', 'publish', 'closed', 'closed', '', '741', '', '', '2016-09-15 20:31:38', '2016-09-16 03:31:38', '', 0, 'http://afm424.digiminddesign.com/?p=741', 20, 'nav_menu_item', '', 0);

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(1454, 4, '2016-02-01 12:13:22', '2016-02-01 19:13:22', '\"Make Me In The Name Of Love\".', 'Make Me In The Name Of Love', '', 'inherit', 'open', 'closed', '', 'make-me-in-the-name-of-love', '', '', '2016-04-08 06:07:04', '2016-04-08 13:07:04', '', 1436, 'https://afm424.org/wp-content/uploads/2016/02/Make-Me-In-The-Name-Of-Love.mp3', 0, 'attachment', 'audio/mpeg', 0),
(1455, 4, '2016-02-01 12:13:25', '2016-02-01 19:13:25', '\"Secrets In The Dark\".', 'Secrets In The Dark', '', 'inherit', 'open', 'closed', '', 'secrets-in-the-dark', '', '', '2016-04-08 06:07:05', '2016-04-08 13:07:05', '', 1436, 'https://afm424.org/wp-content/uploads/2016/02/Secrets-In-The-Dark.mp3', 0, 'attachment', 'audio/mpeg', 0),
(1456, 4, '2016-02-01 12:13:29', '2016-02-01 19:13:29', '\"Serpent & The Machinery\".', 'The Serpent & The Machinery', '', 'inherit', 'open', 'closed', '', 'serpent-the-machinery', '', '', '2016-04-23 12:28:18', '2016-04-23 19:28:18', '', 1436, 'https://afm424.org/wp-content/uploads/2016/02/Serpent-and-the-Machinery.mp3', 0, 'attachment', 'audio/mpeg', 0),
(1457, 4, '2016-02-01 12:13:32', '2016-02-01 19:13:32', '\"To The Beat Of A Heart\".', 'To The Beat Of A Heart', '', 'inherit', 'open', 'closed', '', 'to-the-beat-of-a-heart', '', '', '2016-04-08 06:07:06', '2016-04-08 13:07:06', '', 1436, 'https://afm424.org/wp-content/uploads/2016/02/To-The-Beat-Of-A-Heart.mp3', 0, 'attachment', 'audio/mpeg', 0),
(1458, 4, '2016-02-01 12:13:35', '2016-02-01 19:13:35', '\"When The Angels Cry*\".', 'When The Angels Cry*', '', 'inherit', 'open', 'closed', '', 'when-the-angels-cry', '', '', '2016-04-08 06:07:06', '2016-04-08 13:07:06', '', 1436, 'https://afm424.org/wp-content/uploads/2016/02/When-The-Angels-Cry.mp3', 0, 'attachment', 'audio/mpeg', 0),
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(1474, 2, '2016-02-04 06:26:34', '2016-02-04 13:26:34', 'In the modern day many people will more readily send an email than physically call a person. Emails, social media, and other communication is great way to get in touch with people, but sometimes the most successful way is a good old-fashion phone call. A well-developed telephone technique is crucial to the success of the client contact process. Potential clients can sense when you don’t feel confident, even when that conversation is over the phone.\r\n\r\nIf you lack confidence or if you are shy, you should consider getting advice on how to put forward a strong verbal presentation over the telephone. Many books have been written on the subject, and they are not just for telephone salespeople. Anyone who uses the telephone to drum up business must work on their technique.\r\n\r\nSpeaking slowly and clearly and learning a “script,” especially when you are cold-calling clients, are some of the techniques worth knowing. Another is how to follow up on cold calls. Yet another is how to leave a message on voice mail that will be memorable, which is a technique a little like a 30-second elevator pitch without the business card.\r\n\r\nSome musicians don’t think it’s respectable to call a client themselves. They believe that clients have less respect for musicians who represent themselves than for musicians who are represented by an agent. Therefore, some musicians prefer to have an agent who will call clients on their behalf.\r\n\r\nHowever, you should consider that TV commercials where the owner of the car dealership or mattress emporium represents him or herself are rated higher and more effective than commercials that don’t have an owner present. This was part of the secret behind the rise of the Wendy’s restaurant chain, under the charismatic leadership of Dave Thomas, who often appeared in national TV ads.\r\n\r\nFollowing this logic, clients may well be more convinced of your skills as a musician and bandleader if they talk to you in person, rather than through an agent. Plus, one of the benefits of representing yourself is that you at least know how you are being presented.\r\n\r\nTelephone calls are still one of the least expensive and most effective ways of self-promotion. If your phone technique is good, and you present yourself and your band in a memorable way, clients will recall you when you phone again.\r\n\r\nFor example, Hal Galper of Local 802 (New York City) remembers the time he sat on a panel at the International Association of Jazz Educators’ convention in Atlanta, Georgia. His name was mentioned often on the panel, and many of his clients were present. At one point the moderator asked, “Is there anyone here who has not received a phone call from Hal Galper?” Everyone laughed, and amazingly only one person said, “I haven’t.” Galper arranged to chat with this person after the panel was over. “It pays to have a good phone rap,” he reminds other working musicians.\r\n\r\n––International Musician Online', 'Marketing 101: A Good Old-Fashioned Phone Call', 'Emails, social media, and other communication is great way to get in touch with people, but sometimes the most successful way is a good old-fashioned phone call.', 'publish', 'open', 'closed', '', 'marketing-101-a-good-old-fashioned-phone-call', '', '', '2016-02-08 10:17:32', '2016-02-08 17:17:32', '', 0, 'https://afm424.org/?p=1474', 0, 'post', '', 0),
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(1477, 2, '2016-02-04 05:46:02', '2016-02-04 12:46:02', 'I can’t for the life of me understand why artists across the board are not merchandising from their first show forward. Providing your family, friends, and any fans you may win over the opportunity to take home a keepsake of the evening, such as a T-shirt or bumper sticker to support your band will help you finance your group and will also help increase your visibility.\r\n\r\nIf you have fan support, and you’re merchandising, you’re actually not doing all the promotional work yourself. For every T-shirt and every bumper sticker you sell, you are creating a walking or driving billboard for your band.\r\n\r\nThis grassroots branding is some of the most valuable visibility you’ll have. Because if someone sees another person wearing your shirt, he’ll immediately see that you have support and may want to look further into your band. As your fan base grows, so will your visibility. Your fans may be wearing your shirt when they are performing.\r\n\r\nMaybe in order to make this crosspromotion between bands happen, you’ll need to rock another band’s shirt while you’re on stage. Take the first step and set a precedent of support for the other bands in your scene and show that you stand united.\r\n\r\nMerchandising legitimizes your existence as a band. It separates you from those that talk about it and those that are actually doing it. You must have merch while you’re on tour or traveling anywhere on the road.\r\n\r\nSome merchandising tips:\r\n<ol>\r\n	<li>The table: Usually a six by eight foot banquet table; many venues will be able to provide one. It should have a tablecloth custom screened with your band logo/name.</li>\r\n	<li>T-Shirts: Single-screen, one-color shirts are a staple for any merch table. You can hang them behind your merch table with tacks or duct tape—whatever works—or bring a wire frame divider that you can position behind you. Display each available design and include a price on each. As these are “big ticket” items protect them from thieves by not putting them on the front of the table. Store them in plastic storage boxes in between gigs.</li>\r\n	<li>LPs, EPs, and CDs: Your music is obviously the item that you want displayed and you want to move units of. With the rekindling interest in vinyl, having this format available is a good idea. Stand up the 12-inch LPs in the back of the table using display stands and position smaller items flat on the table. Consider taping them down to deter theft.</li>\r\n	<li>Posters: Place them on the wall behind you, flat on the table, or tape them so they are draping down the front of the table.</li>\r\n	<li>Other: Smaller items (stickers, buttons, patches, guitar picks, lighters, shot glasses, coffee mugs, download cards, etc.) should be organized in front of the larger items to create a visual spread that provides your friends and fans with lots of items to choose from.</li>\r\n	<li>Keep the table staffed: Walking away from your table is walking away from sales. It also invites the possibility of theft. Make sure someone is available to relieve the merch person for breaks.</li>\r\n	<li>Online options: It’s common to run low on certain items or T-shirt sizes while on the road. If you stock these items at a webstore then someone can make a purchase via credit card or PayPal while at the show and let you ship it the next day.</li>\r\n	<li>Be prepared in case you need to re-order from your screen-printer while on the road. Find out the lead time and schedule the shirts to be shipped to an address (friend or hotel) where you will be arriving two or three days after the shirts do.</li>\r\n</ol>\r\n––adapted from The Music Self Help Guide, 2nd Edition, by Mike Repel', 'Merchandising – Extra Money & Free Promotion', 'If you have fan support, and you’re merchandising, you’re actually not doing all the promotional work yourself. For every T-shirt and every bumper sticker you sell, you are creating a walking or driving billboard for your band.', 'publish', 'open', 'closed', '', 'merchandising-extra-money-free-promotion', '', '', '2016-02-08 10:17:57', '2016-02-08 17:17:57', '', 0, 'https://afm424.org/?p=1477', 0, 'post', '', 0),
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(1064, 4, '2015-09-29 06:18:54', '2015-09-29 13:18:54', '[vc_row][vc_column width=\"2/3\"][vc_column_text]\r\n<h1>Contact Us</h1>\r\nWe\'d love to hear from you! Comments, questions, improvements or just want to chat, fill out the form below.[/vc_column_text][gravityform id=\"3\" title=\"false\" description=\"false\" ajax=\"true\"][/vc_column][vc_column width=\"1/3\"][vc_column_text]\r\n<h4>Local 424 AFM</h4>\r\nP.O. Box 1935\r\nEl Cerrito, CA 94530\r\nOffice Phone: <a href=\"tel:5107583011\">510-758-3011</a>\r\nMon-Fri. 11am-3pm.[/vc_column_text][/vc_column][/vc_row]', 'Contact', '', 'publish', 'closed', 'closed', '', 'contact', '', '', '2015-10-08 17:15:44', '2015-10-09 00:15:44', '', 0, 'http://afm424.digiminddesign.com/?page_id=1064', 0, 'page', '', 0),
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INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES
(1080, 6, '2016-02-04 06:59:08', '2016-02-04 13:59:08', '[vc_row][vc_column][vc_column_text]Last week I asked 14 friends if they had heard of the Boswell Sisters.\r\n\r\n13 said no.\r\n\r\nOne said, “Oh yeah. They’re amazing!\"\r\n\r\nThat friend was a jazz singer.\r\n\r\nIf you like Pentatonix, GQ, Take 6, The Manhattan Transfer, the Andrews Sisters or Lambert, Hendricks &amp; Ross––thank the Boswell Sisters. They invented the jazz vocal ensemble.\r\n<blockquote>\"Without the Boswell Sisters there would be no Andrews Sisters.\" -Patty Andrews</blockquote>\r\nIf you like Diana Krall, Bobby McFerrin, Wynonna Judd, Billie Holiday or Ella Fitzgerald––thank the Boswells again. They developed the modern approach to jazz and pop singing.\r\n<blockquote>\"Who influenced me? There was only one singer who influenced me. I tried to sing like her all the time, because everything she did made sense musically… and that singer was Connie Boswell.\" -Ella Fitzgerald</blockquote>\r\nThe Boswell Sisters are one of the most awe-inspiring and important groups to have ever made music.\r\n\r\n<img class=\"wp-image-986 \" src=\"https://afm424.org/wp-content/uploads/2015/09/Crazy-still-1-PS2-2.jpg\" alt=\"Connie, Vet, Martha\" width=\"567\" height=\"418\" />\r\n\r\nIn a 3-minute song, a Boswell Sisters’ arrangement can seamlessly traverse through multiple key changes, several 90-degree tempo shifts, complete reharmonization of various sections, scatting, gulling, lyrics sung in “gibberish,” and all mesmerizingly executed with jaw-dropping style and a wondrous sense of swing.\r\n\r\nAfter many years as a music professional, I cannot believe I was unaware of this stunning vocal trio until January 2015, when I stumbled upon them by accident while surfing the Net. I watched the live 2-minute film clip of  “Crazy People”–– and that was all it took. I was hooked. Or, as Boswell Sisters aficionados say, I was “Bozzed.”\r\n\r\nThis was a new musical world. A wild take on jazz with no words to adequately describe it. I launched a YouTube quest for as much Boswell Sisters music as I could find. Fortunately, many of their tracks are posted on YouTube and CD reissues are readily available on Amazon.\r\n\r\nBefore you read any further…check out the “Crazy People” video.\r\n\r\nFor those who have not taken the trip to Planet Boz––you are in for one doozie of a ride.\r\n\r\n<span style=\"text-decoration: underline;\"><strong>The Boswell Sisters – “Crazy People”</strong></span>\r\n\r\nhttps://www.youtube.com/watch?v=R-O5U4uuPF8\r\n\r\n<strong>The Boswell Sisters were the most popular music group in America from 1931 to 1936.</strong>\r\n\r\nThen suddenly, in 1936, it was all over.\r\n\r\nThey quickly faded from the scene––and the public’s memory.\r\n\r\nSo…who were they?\r\n\r\nAnd why was this incredible trio largely forgotten?\r\n\r\n<img class=\"alignnone size-full wp-image-979\" src=\"https://afm424.org/wp-content/uploads/2015/09/boswell-sisters-early-1a-Cropped.jpg\" alt=\"boswell-sisters-early-1a-Cropped\" width=\"497\" height=\"563\" />\r\n<h2>SHUFFLE OFF TO NEW ORLEANS</h2>\r\nFate can be like a slot machine. The tumblers must align themselves in just the right way to trigger a jackpot. The Boswell Sisters’ story is like that. There’s everything that makes a compelling tale: tragedy, victory, loss, pain, luck, secrets, betrayal, talent, and a deep love forged by strong family bonds. The sisters had an incredible ability to turn adversity into triumph, making the most of every opportunity. Their saga is as compelling as their music.\r\n\r\nThe “Bozzies” (as they are affectionately called) were three bright, über-cute, funny, playful, and extraordinarily talented sisters: Martha (1905-1958), Connie (1907-1976) and Helvetia (1911-1988, known as Vet).\r\n\r\nWhile the girls were very young, the Boswell family settled in New Orleans. With its eclectic blend of cultures and the sound of blues, jazz and gospel all around them, these three brilliant young women––encouraged by musical parents and a strong-willed mother––created a sound so fresh, so unique, that it caused a musical sensation, changing the face (and ears) of popular music.\r\n\r\n[caption id=\"attachment_987\" align=\"alignnone\" width=\"486\"]<img class=\" wp-image-987\" src=\"https://afm424.org/wp-content/uploads/2015/09/early-boswells-pix-book.png\" alt=\"The Early Boswells CONNIE–cello         MARTHA–piano     VET–violin\" width=\"486\" height=\"575\" /> The early Boswells<br />CONNIE–cello       MARTHA–piano     VET–violin[/caption]\r\n\r\n&nbsp;\r\n<h2>THAT’S HOW RHYTHM WAS BORN</h2>\r\n<blockquote>\"Their music hit me right between the eyes, and what hit me was their originality. There was just no one like them.\" -David McCain, Boswell authority</blockquote>\r\nThe young Boswells were trained to be classical instrumentalists. The very essence of music coursed through their veins; Martha was going to be concert pianist, Connie, a cellist, and Vet, a violinist. Yet something else began tugging at their heels.\r\n\r\nIn a 1925 interview with the Shreveport Times, Martha said: “We studied classical music. . .and were being prepared for the stage and a concert tour throughout the United States, but the saxophone got us.”\r\n\r\nConnie traded her cello for a tenor sax, Vet took up the banjo and Martha’s classical piano arpeggios morphed into hot jazz rhythms and ragtime licks.\r\n\r\nThough untrained as vocalists, they sang amazingly well together––with that ethereal, other-worldly blend that seems reserved only for talented siblings with genetically-linked vocal cords. And they were connected in even more profound ways.\r\n<blockquote>David McCain comments: “They did have an uncanny telepathy with each other. It wasn’t only just their musical skill and ability. It was this telepathy they had…which even went beyond just being sisters. It was really being in tune with each other. It’s certainly evident on the records when you hear it.”</blockquote>\r\nThree personas forged into a single musical tour-de-force. They sang with an inspired, surgical precision never heard before, nor equaled since. Together they charted a new course in music where no road map existed.\r\n\r\n&nbsp;\r\n\r\n[caption id=\"attachment_982\" align=\"alignnone\" width=\"354\"]<img class=\"wp-image-982\" src=\"https://afm424.org/wp-content/uploads/2015/09/bozwell_sisters_stacked.jpg\" alt=\"Martha (bottom) –– Connie (middle) –– Vet (top)\" width=\"354\" height=\"456\" /> Connie (bottom) – Martha (middle) – Vet (top)[/caption]\r\n<h2>BETWEEN THE DEVIL AND THE DEEP BLUE SEA</h2>\r\n<blockquote>\"Connie Boswell is the most widely imitated singer of all time.\" -Frank Sinatra</blockquote>\r\nA surprising fact about the Boswell Sisters: Connie was confined to a wheelchair.\r\n\r\nAt the age of 3 either she was either severely injured when ejected from a careening homemade go-cart, had contracted polio, or both (each story was alternately told by Connie through the years). A further incident at age 22, involving a 15-foot fall from a window during a game of hide-and-seek, took away whatever remaining lower-body ability she had. The end result: she never walked again.\r\n\r\nFor their early gigs, Connie was carried “packsaddle” style by her sisters; Martha and Vet interlocked their forearms while Connie sat in the middle. They learned to rely on each other in profound ways: physically, musically, emotionally and spiritually. This intimacy was reflected in the music they created.\r\n<blockquote>Vet’s daughter, Chica Boswell Minnerly, observed: “They went everywhere together, socially. They did things together. Played their music together. And they thought alike. When you have that kind of closeness and you translate it into a musical form, it’s hard to explain what happens…with a trio. A trio begins to have its own identity. And that identity is very different from any of the sisters. So it becomes truly a trio.”</blockquote>\r\nIn the 1920s jazz was often referred to in derogatory terms, especially by religious groups (in the 1950s these same charges would be leveled at rock and roll).\r\n<blockquote>Chica continues: “Jazz, in some circles, was considered ‘the Devil’s music.’ But it was hard to call it ‘the Devil’s music’ when you had these three pretty little girls…one of whom couldn’t walk…and they’re singing this music. So it presented a contradiction. It’s interesting, because people had to make their minds up about it.”</blockquote>\r\n<img class=\"alignnone wp-image-991\" src=\"https://afm424.org/wp-content/uploads/2015/09/postcard.jpeg\" alt=\"postcard\" width=\"436\" height=\"329\" />\r\n<h2>ROLL ON, MISSISSPPI, ROLL ON</h2>\r\nBy 1929 the Boswell Sisters were New Orleans favorites. But if they wanted a higher level of success, they needed to play venues further from home.\r\n\r\nSo the young ladies hit the road, performing in an unglamorous sector of the Vaudeville circuit. Their show featured playing instruments––Martha on piano, Connie on sax, Vet on banjo (and some tap dancing), doing popular songs of the day. Oh…and a little singing was pitched in.\r\n\r\nAt their first out-of-town gig, in a small, dingy theatre in Chicago, the trio was suddenly stricken at show time with a serious case of stage fright. They were so nervous that they left their instruments backstage––all they could manage to do was sing to Martha’s piano accompaniment. When they finished, the stage manager, noticing their discarded instruments backstage, asked: <em>“Don’t you girls do anything but sing?”</em>\r\n\r\nAh, but fate was tampering with those slot machine tumblers––it was through their singing that they would create a musical sensation.\r\n\r\n[caption id=\"attachment_976\" align=\"alignnone\" width=\"283\"]<img class=\" wp-image-976\" src=\"https://afm424.org/wp-content/uploads/2015/09/Boswell-profiles.jpg\" alt=\"Vet, Martha, Connie\" width=\"283\" height=\"359\" /> Vet, Martha, Connie[/caption]\r\n\r\nTheir tour ended up in Los Angeles, where the radio work was. One day Connie showed up for a live broadcast with a bad cold. She suggested the songs be transposed down “an octave or two,” and sing soft and close into the microphone. This close-mike technique is one of the first examples of using the newly developed electronic microphone for maximum effect. This gave the trio an important component of their signature sound.\r\n\r\nWhile doing radio shows in California, a letter came into the station with a scathing review. It was Martha who opened it. The listener wrote: “Get rid of those awful Boswell Sisters––they’re always changing the melody, and whenever they come on the radio, me and my friends turn them off.”\r\n\r\nIt closed with a bristling coda: <em>“We call them the savage chanters.”</em>\r\n\r\nMartha was so upset at this harsh critique that she broke down in tears. She was about to rip up the letter when Connie snatched it from her hand. Connie said it was proof that the trio was indeed doing something different, and that they should keep on doing it.\r\n\r\nWith the experience gleaned from touring and consistent radio work, it was time to move to New York, where the jazz scene was in full swing. It was 1930 and the Boswell Sisters were getting ready to take on the world.\r\n<h3></h3>\r\n[caption id=\"attachment_992\" align=\"alignnone\" width=\"437\"]<img class=\"wp-image-992\" src=\"https://afm424.org/wp-content/uploads/2015/09/the-boswell-sisters.jpg\" alt=\"\" width=\"437\" height=\"547\" /> Martha (bottom) - Connie (middle) - Vet (top)[/caption]\r\n<h2>THE MUSIC GOES ROUND &amp; ROUND</h2>\r\nThe Boswell Sisters came along at the right time. Vaudeville was giving way to that new invention––radio––which grew rapidly from a curiosity to a widely accepted form of entertainment.\r\n\r\nRecorded music was also going through a seismic transformation. Early recording technology used a crude horn to channel the sound. By 1925 the electronic microphone finally made it possible to capture nuances never heard in a recording before.\r\n\r\nThe Bozzies made their first few recordings (into those horns) in 1925. By the time they got to their main body of work, starting in 1931, the electronic microphone was firmly established as the new standard.\r\n\r\nLike today’s Internet, with the popularity of Facebook, YouTube, Twitter, Instagram––the sisters embraced the technologies of their day: radio, records and films. These burgeoning media marvels allowed them to reach a far wider audience than was ever possible through live shows alone.\r\n\r\nAnd the New York scene is where the sisters would find the success they worked so hard for.\r\n\r\nRecords in the 1930s meant a live studio performance. There was no tape, overdubbing, or editing. Each take was recorded in mono onto a wax disc––worlds away from modern digital recording. There was no concept of “fix it in the mix.” The performance had to be good or the “waxie” was tossed. The Bozzies went through a lot of “waxies” before they were satisfied with a record.\r\n\r\nIn the studio, they were fortunate to work with some great musicians of the day, many of whom later became well known: Glenn Miller (trombone and arranger), Tommy Dorsey (trombone), Jimmy Dorsey (alto sax), Benny Goodman (clarinet), Artie Shaw (clarinet), Bunny Berigan (trumpet), Manny Klein (trumpet), Joe Tarto (bass/tuba), Eddie Lang (guitar), Dick McDonough (guitar), Carl Kress (guitar), Joe Venuti (violin), Victor Young (violin) and Stan King (drums). They also worked with the orchestras of Jimmy Grier, Victor Young and Paul Whiteman.\r\n\r\nMany of these celebrated musicians were members of AFM Local 47 (Hollywood): Benny Goodman, Tommy and Jimmy Dorsey, Artie Shaw, Bunny Berigan, Joe Venuti, Manny Klein, Joe Tarto and Victor Young.\r\n\r\n[caption id=\"attachment_989\" align=\"alignnone\" width=\"482\"]<img class=\" wp-image-989\" src=\"https://afm424.org/wp-content/uploads/2015/09/Musicians-BW.jpg\" alt=\"Hamming it up with The Ramblers band during the first European tour.\" width=\"482\" height=\"321\" /> Hamming it up with The Ramblers band during the first European tour[/caption]\r\n\r\nSo how could three white middle-class southern gals come to sound like a sassy trio of soulful jazz singers? Most people who heard them. without seeing them, assumed they were black. Their influences included gospel, jazz, blues and “race” records. Connie was a fan of early blues vocalists Bessie Smith, and especially Mamie Smith––whom she patterned her style after. Her other two major influences were a disparate pair: hot-jazzer Louis Armstrong and operatic tenor Enrico Caruso.\r\n\r\nThe Bozzies’ vocal sound is a curious combination. Martha and Connie were contraltos, while Vet was a mezzo-soprano with an exceptional range. The typical vocal registers were thrown out the window, because they had the uncanny ability to shift parts at will, creating ever-morphing three-dimensional sonic shapes.\r\n\r\nMartha called this “blending.” Connie referred to it as “passing harmony.” Whatever you call it, it meant that the melody could continually move between the three voices. The shuffling of parts, the rapid tempo changes, the modulations and continual reharmonization––indeed rising to the level of recomposition––make that unmistakable Boswell Sound. Nobody had done music this way before. Or since.\r\n\r\nIn a 1965 interview, Connie reflected on the trio’s sound. She said when people heard them for the first time, they couldn’t believe they were sisters, because “no family could have 3 sisters who could sing like this.” At the same time, they HAD to be sisters, because “no 3 voices could possibly blend this well without being from the same family.”\r\n\r\n[caption id=\"attachment_975\" align=\"alignnone\" width=\"681\"]<img class=\" wp-image-975\" src=\"https://afm424.org/wp-content/uploads/2015/09/At-piano-1024x641.png\" alt=\"Vet, Martha, Connie\" width=\"681\" height=\"426\" /> Vet, Martha, Connie[/caption]\r\n\r\nTheir father, A.C., a former Vaudevillian and Barbershop singer, taught them a language he called “gibberish.” It’s a zany, word-morphing, pig-Latinish kind of thing––and the girls loved it. This “gibberish” shows up in a number of their recordings. A variation on “gibberish” is heard on the second section of “Everybody Loves My Baby,” which features nonsense sounds sung at an insanely fast tempo, performed with perfect diction in astonishingly precise 3-part harmony––a typical Bozzie Dazzle Moment.\r\n<h4><span style=\"text-decoration: underline;\">Everybody Loves My Baby</span></h4>\r\n[audio mp3=\"https://afm424.org/wp-content/uploads/2015/09/Everybody-Loves-My-Baby.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nEvery time I hear this track, a jolt of electricity shoots up my spine. The vocal histrionics are as energetically wild as they are highly disciplined. Connie even “gulls” (a technique of extreme glottal stops) in the middle of everything. Hey, if this doesn’t get you to sit up and take notice, you’re in a musical coma.\r\n\r\nThe sisters created all their own arrangements, working collectively, each sparking off the other. But just how did they come up with these wildly inventive sound canvasses?\r\n\r\nConnie provided some insight in a 1932 interview: “The method we use is rather quaint, and I know will amuse you when you hear about it––we learn our songs backwards! ...That is to say, we start at the end of the chorus and work back to the beginning. None of our arrangements are written out. Once we learn a song we never forget the arrangement.”\r\n\r\nOnstage, Martha played piano accompaniment (and on most of their recordings). Connie sat next to her on the piano bench and Vet stood behind, resting one hand on each sister’s shoulder, choreographing the trios’ movements.\r\n\r\n[caption id=\"attachment_985\" align=\"alignnone\" width=\"572\"]<img class=\" wp-image-985\" src=\"https://afm424.org/wp-content/uploads/2015/09/Crazy-People-Martha-smile.png\" alt=\"Connie, Vet, Martha\" width=\"572\" height=\"429\" /> Connie, Vet, Martha[/caption]\r\n<h4><span style=\"text-decoration: underline;\">Shout, Sister, Shout!</span></h4>\r\n[audio mp3=\"https://afm424.org/wp-content/uploads/2015/09/Shout-Sister-Shout.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nA Boswell Sisters’ theme song; truly a pocket symphony.\r\n\r\nIn a span of 3 minutes, it’s quite a ride through snappy jazz textures, dark gospel, fast scatting, all culminating in bayou-infused swampy soul.\r\n\r\nThe fact that these beautiful and talented young women become so successful in a world dominated by men––at a time when women had only fairly recently been given the right to vote––is testimony of their sense of empowerment as females. They went on the road with no chaperones, managed their own business, and charted their own destinies.\r\n\r\nThe Bozzies were also in control, and responsible for, their musical creations. Rare for recording artists at that time. Their unique musicality, uncanny skill, playful hearts and wistfully “witchy” soulfulness kept them leagues ahead of any competition.\r\n\r\n[caption id=\"attachment_974\" align=\"alignnone\" width=\"422\"]<img class=\" wp-image-974\" src=\"https://afm424.org/wp-content/uploads/2015/09/albumcoverBoswellSisters-ShoutSisterShout.jpg\" alt=\"Martha, Vet, Connie\" width=\"422\" height=\"410\" /> Martha, Vet, Connie[/caption]\r\n\r\nTwo new phrases entered the musical language of their time: “Boswell Sound” and “Boswell Rhythm.”\r\n\r\n“Boswell Sound” referred to their ability to conjure up unusual and infinitely appealing vocal harmonies, coupled with an astounding vocal blend and wildly creative arrangements with unexpected changes, and amazing vocal gymnastics.\r\n\r\n“Boswell Rhythm” was their jazzy, syncopated phrasing and astonishingly precise tempo changes, all executed with an extraordinary sense of musical swing.\r\n\r\nRhythmically, they could push the pulse so it sat on the leading edge of the beat––almost rushing, but not quite. This aggressive hanging over the leading edge of the beat was also called “New Orleans drive.” Many musicians from that scene played on top of the beat, but nobody sang quite like this. And 3 people doing it in perfect synchronicity? Only the Bozzies could do it this incredibly.\r\n<h4><span style=\"text-decoration: underline;\">Heebie Jeebies</span></h4>\r\n[audio mp3=\"https://afm424.org/wp-content/uploads/2015/09/Heebie-Jeebies.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nTheir good-luck song. The spirit is as intoxicating as the smell of down-home southern gumbo.\r\n\r\nA classic Boswell madcap slap-dash romp through many tempo and textural changes, the first-ever 3-part harmony scatting–– delivering a salvo of infectious musical energy that inevitably leaves the listener smiling…and breathless.\r\n\r\n<img class=\"alignnone wp-image-983\" src=\"https://afm424.org/wp-content/uploads/2015/09/Brunswick-publicity-PS2.jpg\" alt=\"Brunswick publicity-PS2\" width=\"716\" height=\"449\" />\r\n<h2>IT DON’T MEAN A THING,  IF IT AIN’T GOT THAT SWING</h2>\r\nWhen the Bozzies recorded their first side for Brunswick Records, “When I Take My Sugar To Tea,” (their first charted hit), the veteran studio musicians expected a typical session with your average young vocal group. They got anything but. The sisters possessed a musicianship equal to their own. The music was challenging, the girls were accomplished, charming and fun, and the players were given latitude to improvise solos in their own style.\r\n\r\nWhen they finished the first successful run-through of the song, all the musicians spontaneously got up––and gave the sisters a standing ovation. This kind of thing simply did not happen. This was a moment vital to the trio’s sense of self- confidence.\r\n\r\nThe Boswell Sisters were definitely on their way.\r\n\r\n[caption id=\"attachment_978\" align=\"alignnone\" width=\"867\"]<img class=\" wp-image-978\" src=\"https://afm424.org/wp-content/uploads/2015/09/Boswells-at-piano.jpeg\" alt=\"Connie, Vet, Martha\" width=\"867\" height=\"715\" /> Connie, Vet, Martha[/caption]\r\n<h2>WE’RE ON THE HIGHWAY TO HEAVEN</h2>\r\nFrom 1931 to 1936 the Boswell Sisters rode the wave of their greatest popularity. They racked up 20 hits on the US charts, and a #1 in 1935 with “The Object Of My Affection.”\r\n\r\nThey sold 75 million records at a time when many Americans didn’t even have enough money to buy fresh bread. This was the Great Depression. Americans found the sisters’ music so uplifting, so transportive, that it helped momentarily lift the nation out of its collective miseries. Their music reminded people of the joy of being alive at a time when all that seemed to lay ahead for the country was more gloom.\r\n\r\n<a href=\"https://afm424.org/wp-content/uploads/2015/09/Charicature-color.jpg\"><img class=\"alignnone wp-image-1146 \" src=\"https://afm424.org/wp-content/uploads/2015/09/Charicature-color-239x300.jpg\" alt=\"\" width=\"295\" height=\"370\" /></a>\r\n<blockquote><em>\"You know, they never cartoon folks unless they are known world wide.\"</em> -A. C. Boswell,  father (in a letter to his daughters)</blockquote>\r\nFor some reason, history has generally underestimated the impact, revolutionary sound and popularity that the Boswell Sisters had. If any musical act has the right to use the word “magic,” it certainly is the Bozzies. Music publishers rarely gave permission for artists to alter songs. Of course, the Boswell Sisters were the exception. Their changes invariably added to the compositional intrigue of the song (the fact that they also sold a lot of records didn’t hurt).\r\n\r\n<img class=\"alignnone wp-image-973\" src=\"https://afm424.org/wp-content/uploads/2015/09/when-i-grow-too-old-boswells-uk.jpg\" alt=\"when-i-grow-too-old-boswells-uk\" width=\"324\" height=\"446\" />\r\n<h2>MY FUTURE JUST PASSED</h2>\r\nBy 1936 it all ended.\r\n\r\nThe trio broke up.\r\n\r\nAfter over 20 years of making music together––and 5 years at the top––the country’s most popular musical group was no more.\r\n\r\n<strong>Why did they break up at the height of their success?</strong>\r\n\r\nThe reason given at the time was that Martha and Vet wanted to get married and raise families, while Connie desired a solo career. While this is true, there were deeper dynamics in play.\r\n\r\nPerhaps for Connie to have a full-on solo career, she needed to break away from the trio. Harry Leedy––Connie’s husband, and manager for both Connie and the trio––could have contributed in sowing the seeds of dissention by promoting Connie over the group, nudging the trio into the shadows.\r\n\r\nPerhaps because the trio had run its course. Intense creativity often embodies the seeds of its own destruction within it.\r\n\r\n<strong>Why were they largely forgotten?</strong>\r\n\r\nMaybe because their music was so new and revolutionary, it defied classification.\r\n\r\nThe music business has a difficult time packaging unique acts. Particularly after they’ve disbanded.\r\n\r\nMaybe because their moment in the spotlight was brief––1931 to 1936––and life moved them on in different directions.\r\n\r\nMaybe because they were popular during the Great Depression, a time that was so painful that Americans wanted to forget this distressing part of their history.\r\n\r\nAfter the breakup, Martha and Vet did retire from the biz, settled down to married life and raised families. Connie continued on with a successful solo career. In 1942, she changed the spelling of her name to “Connee.” From 1936 to 1954, she had 29 songs on the US charts, including two #1 hits which were duets with Bing Crosby.\r\n\r\nBut our slot machine hit a once-in-a-google jackpot.\r\n\r\nThe Bozzies will never be duplicated.\r\n\r\nWhat endures is <strong>the amazing musical legacy the Boswell Sisters left to the universe.</strong>\r\n\r\n<img class=\"alignnone wp-image-980\" src=\"https://afm424.org/wp-content/uploads/2015/09/Boswell-Sisters-logo-cropped.jpg\" alt=\"Boswell-Sisters-logo-cropped\" width=\"385\" height=\"562\" />\r\n<h2>PUT THAT SUN BACK IN THE SKY</h2>\r\nAfter being largely forgotten for over 70 years, there is a resurgence of interest in the Boswell Sisters. The Internet has certainly helped create a new audience. YouTube and Vimeo have provided access to dozens of their songs and some film clips and compilation CDs are readily available.\r\n\r\nTribute groups and Bozzie-influenced bands are growing from all over the globe: the Pfister Sisters, the Puppini Sisters, Boswellmania, the Stolen Sweets, the DeGeleonardo Sisters, the Ditties, the Boswell Project, the Hazelnuts, O Sister! and more. A burgeoning Boswell Sisters Revival is taking place.\r\n\r\nThe Boswells created their music in the first part of the 20th century, but this isn’t nostalgia. Those 78rpm records may have the audio imprint of another era, but the music itself is still fresh, innovative, and as vibrant as when it was first birthed. The Boswell Sisters deserve wider recognition for their considerable contributions to popular music as well as their important place in American music history.\r\n\r\nThanks to Vet’s granddaughter, Kyla Titus, we now know more of the Boswell Sisters’ story. She wrote a wonderful book, “The Boswell Legacy,” published in 2014. My appreciation of their music deepened the more I learned of their backstory. This book is the best, most authentic source for getting the scoop on the fascinating Boswell saga, from a true insider.\r\n\r\nIf your appetite for the Boswell Sisters has now been aroused, check out the links below.\r\n\r\n<strong>Warning…</strong>\r\n\r\nAs I mentioned at the top of this article, listening to Boswell Sisters’ music will put you at risk of “getting Bozzed.”\r\n\r\nYou can get hooked, finding yourself listening to their songs over and over and over again.\r\n<h5 style=\"text-align: center;\">Constant exposure can result in a state of long-lasting euphoria.</h5>\r\n&nbsp;\r\n\r\n<img class=\"alignnone size-full wp-image-981\" src=\"https://afm424.org/wp-content/uploads/2015/09/Boswell-Sisters-poster.jpg\" alt=\"Boswell-Sisters-poster\" width=\"355\" height=\"468\" />\r\n\r\n<strong>ACKNOWLEDGEMENTS:</strong>\r\n\r\nSource material was compiled from “The Boswell Legacy” by Kyla Titus, Chica Boswell Minnerly, Boswell authority David McCain, Vet Boswell Family Collection LLC, TheBoswellSisters.com, Bozzies.org, “Time For The Boswells” by Dennis Yancey, “Three Perfect Minutes” blog by Bryan Mangum, and “The Boswell Sisters: Close Harmony” documentary by Joshua Tree Productions.\r\n\r\n<strong>LINKS:</strong>\r\n<ul>\r\n 	<li><span style=\"color: #0000ff;\"><a style=\"color: #0000ff;\" href=\"https://www.facebook.com/TheBoswellSisters\" target=\"_blank\">Facebook</a></span></li>\r\n</ul>\r\n<span style=\"text-decoration: underline;\"><strong>Websites:</strong></span>\r\n<ul>\r\n 	<li><a href=\"http://www.theboswelllegacy.com/\" target=\"_blank\">The Boswell Legacy.com</a></li>\r\n 	<li><a href=\"http://www.bozzies.org\" target=\"_blank\">bozzies.org</a></li>\r\n</ul>\r\n<strong><span style=\"text-decoration: underline;\">The Boswell Legacy book:</span></strong>\r\n\r\n<a href=\"http://theboswellsisters.weebly.com/store/p21/The_Boswell_Legacy_Book_-_USA_FREE_SHIPPING.html\" target=\"_blank\"><img class=\"wp-image-1225 alignnone\" src=\"https://afm424.org/wp-content/uploads/2015/09/The-Boswell-Legacy-book-232x300.jpg\" alt=\"The Boswell Legacy book\" width=\"125\" height=\"162\" /></a>\r\n<ul>\r\n 	<li><a href=\"https://www.amazon.com/The-Boswell-Legacy-Sisters-Orleans/product-reviews/1502350912/ref=cm_cr_dp_see_all_btm?ie=UTF8&amp;showViewpoints=1&amp;sortBy=recent\" target=\"_blank\">“The Boswell Legacy” by Kyla Titus</a></li>\r\n</ul>\r\n<strong><span style=\"text-decoration: underline;\">Internet Music Archive:</span></strong>\r\n<ul>\r\n 	<li><a href=\"https://archive.org/search.php?query=boswell%20sisters\" target=\"_blank\">archive.org Boswell Sisters</a></li>\r\n</ul>\r\n<strong><a href=\"mailto:pchiten424@gmail.com\" target=\"_blank\">Contact</a> <a style=\"line-height: 1.5;\" href=\"mailto:pchiten424@gmail.com\" target=\"_blank\">Paul Chiten</a></strong>\r\n\r\n<img class=\"alignleft size-thumbnail wp-image-601\" src=\"https://afm424.org/wp-content/uploads/2015/05/Paul-Chiten-150x150.jpg\" alt=\"Paul-Chiten\" width=\"150\" height=\"150\" /><strong>Paul Chiten</strong> is a Los Angeles-based songwriter, composer, producer, musician, singer and artist. His songs have earned him multi-platinum and gold records. His compositions and productions have won Telly, Aurora and Emmy Awards.\r\n\r\nHe has worked with Michael Jackson, Anita Baker, Tina Turner, Donna Summer, Cyndi Lauper and countless others.\r\n\r\nPaul was Music Director/Orchestrator/Arranger/Performer for the 2015 EMC World event in Las Vegas. He\'s currently working on making a large part of his music library accessible for downloading and streaming worldwide.  Many of his albums are now available on iTunes, Amazon, Apple Music, Google Play, Deezer, Tidal and Spotify.\r\n\r\n<a href=\"http://sweethartproductions.com/PaulChiten.aspx\" target=\"_blank\">website</a>\r\n\r\n<a href=\"https://afm424.org/featured-artist-paul-chiten/\" target=\"_blank\">bio</a>\r\n\r\n<a href=\"https://afm424.org/wp-content/uploads/2015/09/Ive-Been-Bozzed-cropped.png\"><img class=\"alignnone wp-image-1054\" src=\"https://afm424.org/wp-content/uploads/2015/09/Ive-Been-Bozzed-cropped-300x300.png\" alt=\"I\'ve Been Bozzed-cropped\" width=\"144\" height=\"144\" /></a>[/vc_column_text][/vc_column][/vc_row]', 'The Greatest Trio You Never Heard Of - The Boswell Sisters', 'The Boswell Sisters are one of the most awe-inspiring and important groups to have ever made music.', 'publish', 'open', 'closed', '', 'the-greatest-trio-you-never-heard-of-boswell-sisters', '', '', '2017-07-15 17:33:04', '2017-07-16 00:33:04', '', 0, 'http://afm424.digiminddesign.com/?p=1080', 0, 'post', '', 4);
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(1844, 6, '2016-05-10 21:37:15', '2016-05-11 04:37:15', '[vc_row][vc_column][vc_column_text]Last week I asked 14 friends if they had heard of the Boswell Sisters.\n\n13 said no.\n\nOne said, “Oh yeah. They’re amazing!\"\n\nThat friend was a jazz singer.\n\nIf you like Pentatonix, GQ, Take 6, The Manhattan Transfer, the Andrews Sisters or Lambert, Hendricks &amp; Ross––thank the Boswell Sisters. They invented the jazz vocal ensemble.\n<blockquote>\"Without the Boswell Sisters there would be no Andrews Sisters.\" -Patty Andrews</blockquote>\nIf you like Diana Krall, Bobby McFerrin, Wynonna Judd, Billie Holiday or Ella Fitzgerald––thank the Boswells again. They developed the modern approach to jazz and pop singing.\n<blockquote>\"Who influenced me? There was only one singer who influenced me. I tried to sing like her all the time, because everything she did made sense musically… and that singer was Connie Boswell.\" -Ella Fitzgerald</blockquote>\nThe Boswell Sisters are one of the most awe-inspiring and important groups to have ever made music.\n\n<img class=\"wp-image-986 \" src=\"https://afm424.org/wp-content/uploads/2015/09/Crazy-still-1-PS2-2.jpg\" alt=\"Connie, Vet, Martha\" width=\"567\" height=\"418\" />\n\nIn a 3-minute song, a Boswell Sisters’ arrangement can seamlessly traverse through multiple key changes, several 90-degree tempo shifts, complete reharmonization of various sections, scatting, gulling, lyrics sung in “gibberish,” and all mesmerizingly executed with jaw-dropping style and a wondrous sense of swing.\n\nAfter many years as a music professional, I cannot believe I was unaware of this stunning vocal trio until January 2015, when I stumbled upon them by accident while surfing the Net. I watched the live 2-minute film clip of  “Crazy People”–– and that was all it took. I was hooked. Or, as Boswell Sisters aficionados say, I was “Bozzed.”\n\nThis was a new musical world. A wild take on jazz with no words to adequately describe it. I launched a YouTube quest for as much Boswell Sisters music as I could find. Fortunately, many of their tracks are posted on YouTube and CD reissues are readily available on Amazon.\n\nBefore you read any further…check out the “Crazy People” video.\n\nFor those who have not taken the trip to Planet Boz––you are in for one doozie of a ride.\n\n<span style=\"text-decoration: underline;\"><strong>The Boswell Sisters – “Crazy People”</strong></span>\n\nhttps://www.youtube.com/watch?v=R-O5U4uuPF8\n\n<strong>The Boswell Sisters were the most popular music group in America from 1931 to 1936.</strong>\n\nThen suddenly, in 1936, it was all over.\n\nThey quickly faded from the scene––and the public’s memory.\n\nSo…who were they?\n\nAnd why was this incredible trio largely forgotten?\n\n<img class=\"alignnone size-full wp-image-979\" src=\"https://afm424.org/wp-content/uploads/2015/09/boswell-sisters-early-1a-Cropped.jpg\" alt=\"boswell-sisters-early-1a-Cropped\" width=\"497\" height=\"563\" />\n<h2>SHUFFLE OFF TO NEW ORLEANS</h2>\nFate can be like a slot machine. The tumblers must align themselves in just the right way to trigger a jackpot. The Boswell Sisters’ story is like that. There’s everything that makes a compelling tale: tragedy, victory, loss, pain, luck, secrets, betrayal, talent, and a deep love forged by strong family bonds. The sisters had an incredible ability to turn adversity into triumph, making the most of every opportunity. Their saga is as compelling as their music.\n\nThe “Bozzies” (as they are affectionately called) were three bright, über-cute, funny, playful, and extraordinarily talented sisters: Martha (1905-1958), Connie (1907-1976) and Helvetia (1911-1988, known as Vet).\n\nWhile the girls were very young, the Boswell family settled in New Orleans. With its eclectic blend of cultures and the sound of blues, jazz and gospel all around them, these three brilliant young women––encouraged by musical parents and a strong-willed mother––created a sound so fresh, so unique, that it caused a musical sensation, changing the face (and ears) of popular music.\n\n[caption id=\"attachment_987\" align=\"alignnone\" width=\"486\"]<img class=\" wp-image-987\" src=\"https://afm424.org/wp-content/uploads/2015/09/early-boswells-pix-book.png\" alt=\"The Early Boswells CONNIE–cello         MARTHA–piano     VET–violin\" width=\"486\" height=\"575\" /> The early Boswells<br />CONNIE–cello       MARTHA–piano     VET–violin[/caption]\n\n&nbsp;\n<h2>THAT’S HOW RHYTHM WAS BORN</h2>\n<blockquote>\"Their music hit me right between the eyes, and what hit me was their originality. There was just no one like them.\" -David McCain, Boswell authority</blockquote>\nThe young Boswells were trained to be classical instrumentalists. The very essence of music coursed through their veins; Martha was going to be concert pianist, Connie, a cellist, and Vet, a violinist. Yet something else began tugging at their heels.\n\nIn a 1925 interview with the Shreveport Times, Martha said: “We studied classical music. . .and were being prepared for the stage and a concert tour throughout the United States, but the saxophone got us.”\n\nConnie traded her cello for a tenor sax, Vet took up the banjo and Martha’s classical piano arpeggios morphed into hot jazz rhythms and ragtime licks.\n\nThough untrained as vocalists, they sang amazingly well together––with that ethereal, other-worldly blend that seems reserved only for talented siblings with genetically-linked vocal cords. And they were connected in even more profound ways.\n<blockquote>David McCain comments: “They did have an uncanny telepathy with each other. It wasn’t only just their musical skill and ability. It was this telepathy they had…which even went beyond just being sisters. It was really being in tune with each other. It’s certainly evident on the records when you hear it.”</blockquote>\nThree personas forged into a single musical tour-de-force. They sang with an inspired, surgical precision never heard before, nor equaled since. Together they charted a new course in music where no road map existed.\n\n&nbsp;\n\n[caption id=\"attachment_982\" align=\"alignnone\" width=\"354\"]<img class=\"wp-image-982\" src=\"https://afm424.org/wp-content/uploads/2015/09/bozwell_sisters_stacked.jpg\" alt=\"Martha (bottom) –– Connie (middle) –– Vet (top)\" width=\"354\" height=\"456\" /> Connie (bottom) – Martha (middle) – Vet (top)[/caption]\n<h2>BETWEEN THE DEVIL AND THE DEEP BLUE SEA</h2>\n<blockquote>\"Connie Boswell is the most widely imitated singer of all time.\" -Frank Sinatra</blockquote>\nA surprising fact about the Boswell Sisters: Connie was confined to a wheelchair.\n\nAt the age of 3 either she was either severely injured when ejected from a careening homemade go-cart, had contracted polio, or both (each story was alternately told by Connie through the years). A further incident at age 22, involving a 15-foot fall from a window during a game of hide-and-seek, took away whatever remaining lower-body ability she had. The end result: she never walked again.\n\nFor their early gigs, Connie was carried “packsaddle” style by her sisters; Martha and Vet interlocked their forearms while Connie sat in the middle. They learned to rely on each other in profound ways: physically, musically, emotionally and spiritually. This intimacy was reflected in the music they created.\n<blockquote>Vet’s daughter, Chica Boswell Minnerly, observed: “They went everywhere together, socially. They did things together. Played their music together. And they thought alike. When you have that kind of closeness and you translate it into a musical form, it’s hard to explain what happens…with a trio. A trio begins to have its own identity. And that identity is very different from any of the sisters. So it becomes truly a trio.”</blockquote>\nIn the 1920s jazz was often referred to in derogatory terms, especially by religious groups (in the 1950s these same charges would be leveled at rock and roll).\n<blockquote>Chica continues: “Jazz, in some circles, was considered ‘the Devil’s music.’ But it was hard to call it ‘the Devil’s music’ when you had these three pretty little girls…one of whom couldn’t walk…and they’re singing this music. So it presented a contradiction. It’s interesting, because people had to make their minds up about it.”</blockquote>\n<img class=\"alignnone wp-image-991\" src=\"https://afm424.org/wp-content/uploads/2015/09/postcard.jpeg\" alt=\"postcard\" width=\"436\" height=\"329\" />\n<h2>ROLL ON, MISSISSPPI, ROLL ON</h2>\nBy 1929 the Boswell Sisters were New Orleans favorites. But if they wanted a higher level of success, they needed to play venues further from home.\n\nSo the young ladies hit the road, performing in an unglamorous sector of the Vaudeville circuit. Their show featured playing instruments––Martha on piano, Connie on sax, Vet on banjo (and some tap dancing), doing popular songs of the day. Oh…and a little singing was pitched in.\n\nAt their first out-of-town gig, in a small, dingy theatre in Chicago, the trio was suddenly stricken at show time with a serious case of stage fright. They were so nervous that they left their instruments backstage––all they could manage to do was sing to Martha’s piano accompaniment. When they finished, the stage manager, noticing their discarded instruments backstage, asked: <em>“Don’t you girls do anything but sing?”</em>\n\nAh, but fate was tampering with those slot machine tumblers––it was through their singing that they would create a musical sensation.\n\n[caption id=\"attachment_976\" align=\"alignnone\" width=\"283\"]<img class=\" wp-image-976\" src=\"https://afm424.org/wp-content/uploads/2015/09/Boswell-profiles.jpg\" alt=\"Vet, Martha, Connie\" width=\"283\" height=\"359\" /> Vet, Martha, Connie[/caption]\n\nTheir tour ended up in Los Angeles, where the radio work was. One day Connie showed up for a live broadcast with a bad cold. She suggested the songs be transposed down “an octave or two,” and sing soft and close into the microphone. This close-mike technique is one of the first examples of using the newly developed electronic microphone for maximum effect. This gave the trio an important component of their signature sound.\n\nWhile doing radio shows in California, a letter came into the station with a scathing review. It was Martha who opened it. The listener wrote: “Get rid of those awful Boswell Sisters––they’re always changing the melody, and whenever they come on the radio, me and my friends turn them off.”\n\nIt closed with a bristling coda: <em>“We call them the savage chanters.”</em>\n\nMartha was so upset at this harsh critique that she broke down in tears. She was about to rip up the letter when Connie snatched it from her hand. Connie said it was proof that the trio was indeed doing something different, and that they should keep on doing it.\n\nWith the experience gleaned from touring and consistent radio work, it was time to move to New York, where the jazz scene was in full swing. It was 1930 and the Boswell Sisters were getting ready to take on the world.\n<h3></h3>\n[caption id=\"attachment_992\" align=\"alignnone\" width=\"437\"]<img class=\"wp-image-992\" src=\"https://afm424.org/wp-content/uploads/2015/09/the-boswell-sisters.jpg\" alt=\"\" width=\"437\" height=\"547\" /> Martha (bottom) - Connie (middle) - Vet (top)[/caption]\n<h2>THE MUSIC GOES ROUND &amp; ROUND</h2>\nThe Boswell Sisters came along at the right time. Vaudeville was giving way to that new invention––radio––which grew rapidly from a curiosity to a widely accepted form of entertainment.\n\nRecorded music was also going through a seismic transformation. Early recording technology used a crude horn to channel the sound. By 1925 the electronic microphone finally made it possible to capture nuances never heard in a recording before.\n\nThe Bozzies made their first few recordings (into those horns) in 1925. By the time they got to their main body of work, starting in 1931, the electronic microphone was firmly established as the new standard.\n\nLike today’s Internet, with the popularity of Facebook, YouTube, Twitter, Instagram––the sisters embraced the technologies of their day: radio, records and films. These burgeoning media marvels allowed them to reach a far wider audience than was ever possible through live shows alone.\n\nAnd the New York scene is where the sisters would find the success they worked so hard for.\n\nRecords in the 1930s meant a live studio performance. There was no tape, overdubbing, or editing. Each take was recorded in mono onto a wax disc––worlds away from modern digital recording. There was no concept of “fix it in the mix.” The performance had to be good or the “waxie” was tossed. The Bozzies went through a lot of “waxies” before they were satisfied with a record.\n\nIn the studio, they were fortunate to work with some great musicians of the day, many of whom later became well known: Glenn Miller (trombone and arranger), Tommy Dorsey (trombone), Jimmy Dorsey (alto sax), Benny Goodman (clarinet), Artie Shaw (clarinet), Bunny Berigan (trumpet), Manny Klein (trumpet), Joe Tarto (bass/tuba), Eddie Lang (guitar), Dick McDonough (guitar), Carl Kress (guitar), Joe Venuti (violin), Victor Young (violin) and Stan King (drums). They also worked with the orchestras of Jimmy Grier, Victor Young and Paul Whiteman.\n\nMany of these celebrated musicians were members of AFM Local 47 (Hollywood): Benny Goodman, Tommy and Jimmy Dorsey, Artie Shaw, Bunny Berigan, Joe Venuti, Manny Klein, Joe Tarto and Victor Young.\n\n[caption id=\"attachment_989\" align=\"alignnone\" width=\"482\"]<img class=\" wp-image-989\" src=\"https://afm424.org/wp-content/uploads/2015/09/Musicians-BW.jpg\" alt=\"Hamming it up with The Ramblers band during the first European tour.\" width=\"482\" height=\"321\" /> Hamming it up with The Ramblers band during the first European tour[/caption]\n\nSo how could three white middle-class southern gals come to sound like a sassy trio of soulful jazz singers? Most people who heard them. without seeing them, assumed they were black. Their influences included gospel, jazz, blues and “race” records. Connie was a fan of early blues vocalists Bessie Smith, and especially Mamie Smith––whom she patterned her style after. Her other two major influences were a disparate pair: hot-jazzer Louis Armstrong and operatic tenor Enrico Caruso.\n\nThe Bozzies’ vocal sound is a curious combination. Martha and Connie were contraltos, while Vet was a mezzo-soprano with an exceptional range. The typical vocal registers were thrown out the window, because they had the uncanny ability to shift parts at will, creating ever-morphing three-dimensional sonic shapes.\n\nMartha called this “blending.” Connie referred to it as “passing harmony.” Whatever you call it, it meant that the melody could continually move between the three voices. The shuffling of parts, the rapid tempo changes, the modulations and continual reharmonization––indeed rising to the level of recomposition––make that unmistakable Boswell Sound. Nobody had done music this way before. Or since.\n\nIn a 1965 interview, Connie reflected on the trio’s sound. She said when people heard them for the first time, they couldn’t believe they were sisters, because “no family could have 3 sisters who could sing like this.” At the same time, they HAD to be sisters, because “no 3 voices could possibly blend this well without being from the same family.”\n\n[caption id=\"attachment_975\" align=\"alignnone\" width=\"681\"]<img class=\" wp-image-975\" src=\"https://afm424.org/wp-content/uploads/2015/09/At-piano-1024x641.png\" alt=\"Vet, Martha, Connie\" width=\"681\" height=\"426\" /> Vet, Martha, Connie[/caption]\n\nTheir father, A.C., a former Vaudevillian and Barbershop singer, taught them a language he called “gibberish.” It’s a zany, word-morphing, pig-Latinish kind of thing––and the girls loved it. This “gibberish” shows up in a number of their recordings. A variation on “gibberish” is heard on the second section of “Everybody Loves My Baby,” which features nonsense sounds sung at an insanely fast tempo, performed with perfect diction in astonishingly precise 3-part harmony––a typical Bozzie Dazzle Moment.\n<h4><span style=\"text-decoration: underline;\">Everybody Loves My Baby</span></h4>\n[audio mp3=\"https://afm424.org/wp-content/uploads/2015/09/Everybody-Loves-My-Baby.mp3\"][/audio]\n\n&nbsp;\n\nEvery time I hear this track, a jolt of electricity shoots up my spine. The vocal histrionics are as energetically wild as they are highly disciplined. Connie even “gulls” (a technique of extreme glottal stops) in the middle of everything. Hey, if this doesn’t get you to sit up and take notice, you’re in a musical coma.\n\nThe sisters created all their own arrangements, working collectively, each sparking off the other. But just how did they come up with these wildly inventive sound canvasses?\n\nConnie provided some insight in a 1932 interview: “The method we use is rather quaint, and I know will amuse you when you hear about it––we learn our songs backwards! ...That is to say, we start at the end of the chorus and work back to the beginning. None of our arrangements are written out. Once we learn a song we never forget the arrangement.”\n\nOnstage, Martha played piano accompaniment (and on most of their recordings). Connie sat next to her on the piano bench and Vet stood behind, resting one hand on each sister’s shoulder, choreographing the trios’ movements.\n\n[caption id=\"attachment_985\" align=\"alignnone\" width=\"572\"]<img class=\" wp-image-985\" src=\"https://afm424.org/wp-content/uploads/2015/09/Crazy-People-Martha-smile.png\" alt=\"Connie, Vet, Martha\" width=\"572\" height=\"429\" /> Connie, Vet, Martha[/caption]\n<h4><span style=\"text-decoration: underline;\"><strong>Shout, Sister, Shout!</strong></span></h4>\n[audio mp3=\"https://afm424.org/wp-content/uploads/2015/09/Shout-Sister-Shout.mp3\"][/audio]\n\n&nbsp;\n\nA Boswell Sisters’ theme song; truly a pocket symphony.\n\nIn a span of 3 minutes, it’s quite a ride through snappy jazz textures, dark gospel, fast scatting, all culminating in bayou-infused swampy soul.\n\nThe fact that these beautiful and talented young women become so successful in a world dominated by men––at a time when women had only fairly recently been given the right to vote––is testimony of their sense of empowerment as females. They went on the road with no chaperones, managed their own business, and charted their own destinies.\n\nThe Bozzies were also in control, and responsible for, their musical creations. Rare for recording artists at that time. Their unique musicality, uncanny skill, playful hearts and wistfully “witchy” soulfulness kept them leagues ahead of any competition.\n\n[caption id=\"attachment_974\" align=\"alignnone\" width=\"422\"]<img class=\" wp-image-974\" src=\"https://afm424.org/wp-content/uploads/2015/09/albumcoverBoswellSisters-ShoutSisterShout.jpg\" alt=\"Martha, Vet, Connie\" width=\"422\" height=\"410\" /> Martha, Vet, Connie[/caption]\n\nTwo new phrases entered the musical language of their time: “Boswell Sound” and “Boswell Rhythm.”\n\n“Boswell Sound” referred to their ability to conjure up unusual and infinitely appealing vocal harmonies, coupled with an astounding vocal blend and wildly creative arrangements with unexpected changes, and amazing vocal gymnastics.\n\n“Boswell Rhythm” was their jazzy, syncopated phrasing and astonishingly precise tempo changes, all executed with an extraordinary sense of musical swing.\n\nRhythmically, they could push the pulse so it sat on the leading edge of the beat––almost rushing, but not quite. This aggressive hanging over the leading edge of the beat was also called “New Orleans drive.” Many musicians from that scene played on top of the beat, but nobody sang quite like this. And 3 people doing it in perfect synchronicity? Only the Bozzies could do it this incredibly.\n<h4><span style=\"text-decoration: underline;\">Heebie Jeebies</span></h4>\n[audio mp3=\"https://afm424.org/wp-content/uploads/2015/09/Heebie-Jeebies.mp3\"][/audio]\n\n&nbsp;\n\nTheir good-luck song. The spirit is as intoxicating as the smell of down-home southern gumbo.\n\nA classic Boswell madcap slap-dash romp through many tempo and textural changes, the first-ever 3-part harmony scatting–– delivering a salvo of infectious musical energy that inevitably leaves the listener smiling…and breathless.\n\n<img class=\"alignnone wp-image-983\" src=\"https://afm424.org/wp-content/uploads/2015/09/Brunswick-publicity-PS2.jpg\" alt=\"Brunswick publicity-PS2\" width=\"716\" height=\"449\" />\n<h2>IT DON’T MEAN A THING,  IF IT AIN’T GOT THAT SWING</h2>\nWhen the Bozzies recorded their first side for Brunswick Records, “When I Take My Sugar To Tea,” (their first charted hit), the veteran studio musicians expected a typical session with your average young vocal group. They got anything but. The sisters possessed a musicianship equal to their own. The music was challenging, the girls were accomplished, charming and fun, and the players were given latitude to improvise solos in their own style.\n\nWhen they finished the first successful run-through of the song, all the musicians spontaneously got up––and gave the sisters a standing ovation. This kind of thing simply did not happen. This was a moment vital to the trio’s sense of self- confidence.\n\nThe Boswell Sisters were definitely on their way.\n\n[caption id=\"attachment_978\" align=\"alignnone\" width=\"867\"]<img class=\" wp-image-978\" src=\"https://afm424.org/wp-content/uploads/2015/09/Boswells-at-piano.jpeg\" alt=\"Connie, Vet, Martha\" width=\"867\" height=\"715\" /> Connie, Vet, Martha[/caption]\n<h2>WE’RE ON THE HIGHWAY TO HEAVEN</h2>\nFrom 1931 to 1936 the Boswell Sisters rode the wave of their greatest popularity. They racked up 20 hits on the US charts, and a #1 in 1935 with “The Object Of My Affection.”\n\nThey sold 75 million records at a time when many Americans didn’t even have enough money to buy fresh bread. This was the Great Depression. Americans found the sisters’ music so uplifting, so transportive, that it helped momentarily lift the nation out of its collective miseries. Their music reminded people of the joy of being alive at a time when all that seemed to lay ahead for the country was more gloom.\n\n<a href=\"https://afm424.org/wp-content/uploads/2015/09/Charicature-color.jpg\"><img class=\"alignnone wp-image-1146 \" src=\"https://afm424.org/wp-content/uploads/2015/09/Charicature-color-239x300.jpg\" alt=\"\" width=\"295\" height=\"370\" /></a>\n<blockquote><em>\"You know, they never cartoon folks unless they are known world wide.\"</em> -A. C. Boswell,  father (in a letter to his daughters)</blockquote>\nFor some reason, history has generally underestimated the impact, revolutionary sound and popularity that the Boswell Sisters had. If any musical act has the right to use the word “magic,” it certainly is the Bozzies. Music publishers rarely gave permission for artists to alter songs. Of course, the Boswell Sisters were the exception. Their changes invariably added to the compositional intrigue of the song (the fact that they also sold a lot of records didn’t hurt).\n\n<img class=\"alignnone wp-image-973\" src=\"https://afm424.org/wp-content/uploads/2015/09/when-i-grow-too-old-boswells-uk.jpg\" alt=\"when-i-grow-too-old-boswells-uk\" width=\"324\" height=\"446\" />\n<h2>MY FUTURE JUST PASSED</h2>\nBy 1936 it all ended.\n\nThe trio broke up.\n\nAfter over 20 years of making music together––and 5 years at the top––the country’s most popular musical group was no more.\n\n<strong>Why did they break up at the height of their success?</strong>\n\nThe reason given at the time was that Martha and Vet wanted to get married and raise families, while Connie desired a solo career. While this is true, there were deeper dynamics in play.\n\nPerhaps for Connie to have a full-on solo career, she needed to break away from the trio. Harry Leedy––Connie’s husband, and manager for both Connie and the trio––could have contributed in sowing the seeds of dissention by promoting Connie over the group, nudging the trio into the shadows.\n\nPerhaps because the trio had run its course. Intense creativity often embodies the seeds of its own destruction within it.\n\n<strong>Why were they largely forgotten?</strong>\n\nMaybe because their music was so new and revolutionary, it defied classification.\n\nThe music business has a difficult time packaging unique acts. Particularly after they’ve disbanded.\n\nMaybe because their moment in the spotlight was brief––1931 to 1936––and life moved them on in different directions.\n\nMaybe because they were popular during the Great Depression, a time that was so painful that Americans wanted to forget this distressing part of their history.\n\nAfter the breakup, Martha and Vet did retire from the biz, settled down to married life and raised families. Connie continued on with a successful solo career. In 1942, she changed the spelling of her name to “Connee.” From 1936 to 1954, she had 29 songs on the US charts, including two #1 hits which were duets with Bing Crosby.\n\nBut our slot machine hit a once-in-a-google jackpot.\n\nThe Bozzies will never be duplicated.\n\nWhat endures is <strong>the amazing musical legacy the Boswell Sisters left to the universe.</strong>\n\n<img class=\"alignnone wp-image-980\" src=\"https://afm424.org/wp-content/uploads/2015/09/Boswell-Sisters-logo-cropped.jpg\" alt=\"Boswell-Sisters-logo-cropped\" width=\"385\" height=\"562\" />\n<h2>PUT THAT SUN BACK IN THE SKY</h2>\nAfter being largely forgotten for over 70 years, there is a resurgence of interest in the Boswell Sisters. The Internet has certainly helped create a new audience. YouTube and Vimeo have provided access to dozens of their songs and some film clips and compilation CDs are readily available.\n\nTribute groups and Bozzie-influenced bands are growing from all over the globe: the Pfister Sisters, the Puppini Sisters, Boswellmania, the Stolen Sweets, the DeGeleonardo Sisters, the Ditties, the Boswell Project, the Hazelnuts, O Sister! and more. A burgeoning Boswell Sisters Revival is taking place.\n\nThe Boswells created their music in the first part of the 20th century, but this isn’t nostalgia. Those 78rpm records may have the audio imprint of another era, but the music itself is still fresh, innovative, and as vibrant as when it was first birthed. The Boswell Sisters deserve wider recognition for their considerable contributions to popular music as well as their important place in American music history.\n\nThanks to Vet’s granddaughter, Kyla Titus, we now know more of the Boswell Sisters’ story. She wrote a wonderful book, “The Boswell Legacy,” published in 2014. My appreciation of their music deepened the more I learned of their backstory. This book is the best, most authentic source for getting the scoop on the fascinating Boswell saga, from a true insider.\n\nIf your appetite for the Boswell Sisters has now been aroused, check out the links below.\n\n<strong>Warning…</strong>\n\nAs I mentioned at the top of this article, listening to Boswell Sisters’ music will put you at risk of “getting Bozzed.”\n\nYou can get hooked, finding yourself listening to their songs over and over and over again.\n<h5 style=\"text-align: center;\">Constant exposure can result in a state of long-lasting euphoria.</h5>\n&nbsp;\n\n<img class=\"alignnone size-full wp-image-981\" src=\"https://afm424.org/wp-content/uploads/2015/09/Boswell-Sisters-poster.jpg\" alt=\"Boswell-Sisters-poster\" width=\"355\" height=\"468\" />\n\n<strong>ACKNOWLEDGEMENTS:</strong>\n\nSource material was compiled from “The Boswell Legacy” by Kyla Titus, Chica Boswell Minnerly, Boswell authority David McCain, Vet Boswell Family Collection LLC, TheBoswellSisters.com, Bozzies.org, “Time For The Boswells” by Dennis Yancey, “Three Perfect Minutes” blog by Bryan Mangum, and “The Boswell Sisters: Close Harmony” documentary by Joshua Tree Productions.\n\n<strong>LINKS:</strong>\n<ul>\n 	<li><span style=\"color: #0000ff;\"><a style=\"color: #0000ff;\" href=\"https://www.facebook.com/TheBoswellSisters\" target=\"_blank\">Facebook</a></span></li>\n</ul>\n<span style=\"text-decoration: underline;\"><strong>Websites:</strong></span>\n<ul>\n 	<li><a href=\"http://theboswellsisters.com\" target=\"_blank\">theboswellsisters.com</a></li>\n 	<li><a href=\"http://www.bozzies.org\" target=\"_blank\">bozzies.org</a></li>\n</ul>\n<strong><span style=\"text-decoration: underline;\">The Boswell Legacy book:</span></strong>\n\n<a href=\"http://theboswellsisters.weebly.com/store/p21/The_Boswell_Legacy_Book_-_USA_FREE_SHIPPING.html\" target=\"_blank\"><img class=\"wp-image-1225 alignnone\" src=\"https://afm424.org/wp-content/uploads/2015/09/The-Boswell-Legacy-book-232x300.jpg\" alt=\"The Boswell Legacy book\" width=\"125\" height=\"162\" /></a>\n<ul>\n 	<li><a href=\"http://theboswellsisters.weebly.com/store/p21/The_Boswell_Legacy_Book_-_USA_FREE_SHIPPING.html\" target=\"_blank\">“The Boswell Legacy” by Kyla Titus</a></li>\n</ul>\n<strong><span style=\"text-decoration: underline;\">Internet Music Archive:</span></strong>\n<ul>\n 	<li><a href=\"https://archive.org/search.php?query=boswell%20sisters\" target=\"_blank\">archive.org Boswell Sisters</a></li>\n</ul>\n<strong><a href=\"mailto:pchiten424@gmail.com\" target=\"_blank\">Contact</a> <a style=\"line-height: 1.5;\" href=\"mailto:pchiten424@gmail.com\" target=\"_blank\">Paul Chiten</a></strong>\n\n<img class=\"alignleft size-thumbnail wp-image-601\" src=\"https://afm424.org/wp-content/uploads/2015/05/Paul-Chiten-150x150.jpg\" alt=\"Paul-Chiten\" width=\"150\" height=\"150\" /><strong>Paul Chiten</strong> is a Los Angeles-based songwriter, composer, producer, musician, singer and artist. His songs have earned him multi-platinum and gold records. His compositions and productions have won Telly, Aurora and Emmy Awards.\n\nHe has worked with Michael Jackson, Anita Baker, Tina Turner, Donna Summer, Cyndi Lauper and countless others.\n\nPaul was Music Director/Orchestrator/Arranger/Performer for the 2015 EMC World event in Las Vegas. He\'s currently working on making a large part of his music library accessible for downloading and streaming worldwide.  Many of his albums are now available on iTunes, Amazon, Apple Music, Google Play, Deezer, Tidal and Spotify.\n\n<a href=\"http://sweethartproductions.com/PaulChiten.aspx\" target=\"_blank\">website</a>\n\n<a href=\"https://afm424.org/featured-artist-paul-chiten/\" target=\"_blank\">bio</a>\n\n<a href=\"https://afm424.org/wp-content/uploads/2015/09/Ive-Been-Bozzed-cropped.png\"><img class=\"alignnone wp-image-1054\" src=\"https://afm424.org/wp-content/uploads/2015/09/Ive-Been-Bozzed-cropped-300x300.png\" alt=\"I\'ve Been Bozzed-cropped\" width=\"144\" height=\"144\" /></a>[/vc_column_text][/vc_column][/vc_row]', 'The Greatest Trio You Never Heard Of - The Boswell Sisters', 'The Boswell Sisters are one of the most awe-inspiring and important groups to have ever made music.', 'inherit', 'closed', 'closed', '', '1080-revision-v1', '', '', '2016-05-10 21:37:15', '2016-05-11 04:37:15', '', 1080, 'https://afm424.org/1080-revision-v1/', 0, 'revision', '', 0),
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