For AYS Alumna Catherine Baker, being a professional musician is equally as important to her as offering quality music education as a flute instructor. Since leaving AYS, Catherine has dedicated most of her time teaching flute to young people and has even found creative ways to continue instruction during the pandemic. Hearing her speak about her journey to becoming a professional flutist and dedicated teacher gave me a new appreciation for the long term training of musicians and the benefits of learning music. Our conversation also reminded me how important it is that all people have access to the amazing qualities that music teaches us. 

Catherine grew up in Houston, Texas and lived there until she went to Austin to pursue her master’s degree. She started to play the flute at the age of eight during 2nd grade and was immediately enthralled by it. “I don’t know why I wanted to play the flute. My parents are not musicians. I just remember being in the living room and saying ‘I want to play the flute now!’” 

Music education is lively in Texas statewide, so Catherine was able to participate in music classes at school and joined her first band class in fifth grade. “I was in marching band, which was my favorite thing to do. It provided an awesome group of friends and a sense of community that was unmatched.” Catherine’s love for marching band continued throughout high school and college… Click here to continue reading. 

The Children’s Museum at La Habra opened in December 1977 and is located in a historic 1923 Train Depot. The Children’s Museum at La Habra was 1 of only a few such museums open on the West Coast during the 1970s.

An interactive, enrichment center that stimulates the imagination, The Children’s Museum at La Habra annually provides 95,000 children, their parents and teachers with 10,000 square feet of hands-on exhibits about the arts, sciences, other cultures and everyday life. Through the power of play, children are able to increase their sensory/motor interaction, art, science math, English literacy, creativity and analytical skills. The Museum also provides outreach activities to disadvantaged children that include free school tours and classroom visits, community festivals, family workshops and educational programs – all designed to enable children to learn through exploration, interaction and play!

The Museum features 7 hands-on galleries, many of which remain unique to the field today. In addition to these exhibits, an outdoor dinosaur garden and historic 1942 caboose, the Museum features an exhibit which changes two times a year. The Children’s Museum welcomes local, national and international visitors. Children can ride a kid-size carousel, take a walk in T-Rex’s footprints, pump gas, drive a bus, dress up and perform, and dig for fossils all in one afternoon!

We appreciate the commitment and support from the City of La Habra, Friends of the Children’s Museum, Board of Directors, Museum Staff, Museum Guild, Advisory Board, Docents, Volunteers and Donors who work hard to help ensure the long-term continuity of the Children’s Museum at La Habra.

Click here to learn more about The Friends of the Children’s Museum at La Habra.

“Our primary goal is to always provide an effective transitional shelter program that enables our women to overcome barriers to self-sufficiency within two-years. Aside from that, our three main goals are (1) to provide homeless families with children a safe and secure transitional shelter that promotes their physical and emotional well-being, (2) to help our residents find stable employment and increase their income, and (3) to assist in placing our residents in permanent, long-term housing.”

Click here to learn more about House of Ruth.

LF Founder & President, Greg Johnson interviews Josh, a L.O.V.E. Foundation client about how the impact the organization has made in his life so far

Click here to learn more about L.O.V.E. Foundation.

Here is a great story about how a musician got their start with AYS from their blog. 

 

AYS Alumnus Michael Ryan Armstrong has one of the most interesting and exciting “AYS stories” that I have heard from any AYS musician or alumni to date. His AYS “audition” was anything but traditional, which seemed to parallel his untraditional path of becoming a successful musician and professional in the music industry. Without knowing much about Michael before the interview, I left with a whole new set of knowledge about AYS and how being in the orchestra can really launch a young musician’s career in ways that they never thought possible.

Michael is a true Angeleno. He was born and raised in Los Angeles by his musical parents and has lived in LA ever since. His mother is a French horn player who attended USC, and his father is a trumpet player who had his own band and would often get gigs playing with big name bands such as the Beach Boys. “Some of my earliest musical memories are hearing my parents practicing and talking about music. I also remember  them taking me and my brothers to lots of rehearsals and concerts.” 

With music being a foundation of the Armstrong family, Michael knew at a very young age that he was destined to have a career in the music industry. He started his own musical journey by first playing the piano, because it was an instrument that was always around and a strong presence in his home. “I would practice by ear a lot as a kid, and I would always see the  keyboard in my mind when I heard music.” He started to take formal piano lessons when he was 7 years old, and continued throughout his teen years, studying with Connie Barnes Kuhne and Edward Francis.

With his family being brass players, he also learned to play trumpet. “This was a right of passage for my family. It was also nice  because my younger brother Sam, also an AYS alum, plays the trombone.  So, when we were younger we played in lots of youth orchestras and other groups together.” Because Michael and his siblings were homeschooled, they had the flexibility to practice a lot and participate in many different bands and orchestras. “Our house was kind of like a music bootcamp.” 

Along with being a piano and trumpet player, Michael found another passion in his teens, which was conducting. While attending summer music camps and youth orchestras, he started talking to the conductors about conducting and was encouraged to give it a try. At the age of 17 Michael started private conducting lessons. His teachers included Larry Livingston from USC, Brad Keimach from Glendale Youth Orchestra, and Bill Benson of the Conejo Valley Youth Orchestra. 

Over the years, conducting became a bigger and bigger part of his life. “I’ve been very blessed to be able to conduct quite a bit, primarily with youth orchestras, community orchestras, and most recently at Thomas Aquinas College in Santa Paula. I’m very much looking forward to getting back on the podium  once concert halls start to open up again.”

When it came to launching his career in music, Michael credited the influence from his parents and also American Youth Symphony. Instead of attending college for music performance, Michael explained that his time in AYS contributed a great deal to his musical education. “AYS provided me with the networking and tools I needed in order to be prepared for higher-level work in the music industry.”

From the very beginning of his AYS journey, Michael was already being thrown in with one of the greatest composers of our time, John Williams. 

“My ‘audition’ into AYS is kind of a funny  story. My younger brother Sam joined AYS at the young age of 16 as a trombone player, and I used to drive him to and from rehearsals. One time I decided to stay for a rehearsal and hear the orchestra play for the first time. They were playing Brahms’ Symphony No. 1 and I remember thinking ‘Wow, these kids are really good,’ and leaving feeling really proud of my brother for being a part of such a prestigious orchestra.

Some time later, I was sitting in on a rehearsal for an upcoming concert where John Williams would be conducting his own music. I noticed that there was no one playing keyboards for the rehearsal — apparently the person who was supposed to play had not shown up. I asked the orchestra manager if he would like me to cover the parts for the rehearsal and he said that I was welcome to. After getting through the rehearsal, I was asked to play on the concert.  One of my best memories is of the dress rehearsal when John Williams himself came to rehearse us. There was a particularly difficult solo passage for celesta on the opening of Harry Potter. We played through that section and John Williams suddenly stopped. He turned around to where I was sitting behind him and said, ‘Nice.’ That was a big relief, and that’s how I started playing with AYS.”

This John Williams concert was Michael’s first of many playing piano and keyboards, and organ for AYS. During his tenure of seven years with the orchestra (2008-2015), Michael had the opportunity to play at some of LA’s finest concert halls and work with some of his favorite  conductors including James Conlon, Alexander Treger, and David Newman, who is also an AYS Board Member and alum. 

“I’m really grateful for Dave Newman because he taught me a lot about music technology and he even helped me get a discount on my first MacBook Pro laptop, which we used to create all the different keyboard sounds for the film music concerts. Dave would work closely with me and helped develop my technical skills which are so essential for having a successful career. Billy Sullivan [also an AYS Board Member] was also a huge influence. They both helped me to understand the technology side of music, which is critical for anyone interested in recording work. Those guys were my heroes and mentors.”

AYS also provided Michael with his first experiences playing music live-to-picture. “The film music concerts were just unreal. Playing film music is quite different from playing classical repertoire, and that kind of experience is extremely hard to come by.” 

Playing orchestral music with world-class musicians and conductors, being exposed to influential people in the field, and learning the technical skills related to film music were just a few things that Michael took away from his experience in AYS. He explained that AYS also helped him build his confidence.

“I was often a little insecure about not being in school or having a degree, because that’s something that people always ask about. But once I was in AYS there was a new level of respect that people showed me. It was a big thing for me that really boosted my confidence and made me feel very proud of what I was doing.”

Since his final season with AYS in 2015, Michael has kept up with all of his interests and passions, with music being at the core. Through our conversation, I learned that he is very versatile and seems to be a jack of all trades in the field! He owns his own business, Armstrong Orchestral, which provides music contracting services, and specialty music printing for composers and orchestras nationwide. After building up his business for over 10 years, he recently had to shift his services to include more digital offerings, such as graphic design and video editing, because of the COVID-19 pandemic and closure of concert halls. With all the virtual concerts happening, he is busier than ever and happy to see where his latest projects are taking him…including working on AYS’ virtual productions this year as our score reader.

AYS first hired Michael to be our score reader for the production of Jessie Montgomery’s Starburst and Benjamin Britten’s Variations on a Theme of Frank Bridge for our Fall Concert in October 2020. Currently, he is working with us again on the production of our 56th Annual Gala to be aired on June 3, 2021. As our score reader, he works very closely with Music Director Carlos Izcaray and Director of Photography Philip Holahan throughout the duration of the production process. He acts as the musical consultant to Philip, helping him strategize where to place the cameras and focus on certain musicians for specific parts of the music, as well as communicating with Maestro Izcaray. 

“I had to figure out what being a score reader meant, too, during this process. Essentially, when you are planning to film a concert, you have to first decide where your cameras are going to be placed. That will be different for every piece, and you have to look into the score to decide what is most important. There are so many moving parts of an orchestra, for example, different solos and points of conversation between different sections.  So I help in identifying those parts with Philip so that we can take the viewers on an interesting journey through each piece.”

Michael working as AYS’ Score Reader on May 8, 2021 at UCLA’s Royce Hall.

Prior to recording day, Michael reviewed the stage plots and camera placements for the different pieces, to make sure they work together as a whole. He also developed and made a shot list with Maestro Izcaray and Philip. On the day-of, Michael was on a headset and provided cues to the film crew while the orchestra was playing. It’s very similar to how a stage manager would give cues to the lighting and sound design team during a theatrical performance. “I’m basically the musical translator for the film crew.”

If that weren’t enough already, Michael explained that the work after the content is captured is the most crucial. “I sit with the main video editor and go through every shot with the score. Philip has the real eye for the shots and vision for how everything should look, but I help to ensure that we are looking at the right instruments at certain parts in the score. I also help verify that the music is synced with the film and keeping a close eye on syncing with the bows, conductor, etc.” 

After capturing the orchestra’s performance on May 8, 2021, Michael, Philip, Maestro Izcaray, and other editors have a few weeks to cut the four pieces being broadcast for the 56th Annual Gala on June 3rd. 

After learning about all of Michael’s talents, I asked him what his hopes are for the future. He responded that 2020 brought new passions of his to light, including producing film concerts for orchestras. “I think this virtual way of making and sharing music is going to be something that many orchestras will incorporate into their regular concert seasons, even after concert halls are open again. During the pandemic I have discovered so many new orchestras from the productions they have shared online. I hope we continue to see a hybrid of live concerts and virtual ones in the future.” 

 I thought this vision also resonated with one of Michael’s biggest lessons he learned from his parents. They taught him that a music career is a difficult path and things won’t always turn out exactly how you expect — but what matters most is that you keep adapting and stay with it for the long run.

We should continue to expect huge things from Michael as he continues to explore what it means to have a career in music with his multiple talents and interests. For young musicians out there, I hope Michael’s story inspires you to forge your own path in the music industry. 

Sharefest has several opportunities to still participate in their workday. Click here to see how to participate in workday from afar. 

OPICA has some great virtual programs.

You can learn all about them and the schedule by clicking here. 

 

Here is some details about a couple of their classes. 

Brain Train online

This two-hour, weekly program, is for people in the early stages of memory loss.  The purpose of the program is to:

• Create a community and support system

• Stimulate physical, and cognitive functioning

• Support emotional and spiritual needs

• Group activities include –

  • Yoga – 45 minutes specifically designed for brain fitness and physical activity.

  • Support group – Includes check-in, discussion, and cognitive stimulation activities.

Depending on availability, you may choose to attend more than once per week.

Mondays, Wednesdays, and Thursdays from 1:00 pm  – 3:00 pm

 

Friendship Group

This one hour program is for people in the early to moderate stages of memory loss.  This group provides an opportunity for:

• Sharing of stories through reminiscences, and supportive conversation.

• Stimulating activities, fun, and laughter

Every Friday, 11 am – 12 noon

 

 

Here is why L.O.V.E Foundation does what they do!

6,000 to 7,000 youth on are the streets of Los Angeles every single night.

Far too often, our adolescents’ voices are not heard by those who are supposed to be their supporters. Their dreams are disregarded and they’re not able to be who they truly are. Tragically, youth are physically, psychologically, or sexually abused or neglected entirely through no fault of their own. Understandably, these young people often end up feeling physically, emotionally, mentally and spiritually abandoned. The sadness and despair manifests either inwardly as depression and hopelessness or outwardly as anger and even rage. They may become homeless, involved in the criminal justice system, and/or addicted to an array of substances and lifestyles. These are not throwaway kids. They are broken-hearted because nobody believed in them or gave them the unconditional love they needed. 

Miguel Padilla’s life is one example of the tragedy so many of our adolescents face today.  Miguel was abandoned by his mother at a young age, neglected by his father, and suffered two horrific accidents in his lifetime which caused him to lose his right arm below the elbow and the sight in his left eye. Miguel was continuously teased by his peers for his disabilities and left isolated at school.

After being abandoned by his mother, Miguel was left in the care of his father who abused him and finally left him with his elderly grandmother who was not able to care for him. Miguel was then placed in Los Angeles County’s child welfare system and lastly in the juvenile justice system due to behavioral issues.

While the 17-year-old was living in his final placement – a structured, therapeutic setting with sprawling grounds, Miguel ventured into the orchard, climbed into a tree with his one arm, and hung himself with a noose he had made.  His body was found nine days later by staff.

Miguel’s life magnifies the plight of so many of our youth today living in an environment where they do not receive the love and support they need, stripping our children of any sense of self-esteem and self-worth.  In an interview with a social worker, Miguel professed, “I have a heart, I care about people.” Miguel’s voice cries out to be heard.

Miguel’s life and the lives of all of our disenfranchised, lost and forgotten adolescents inspire the voice of L.O.V.E. Foundation and our team of Love Warriors to provide the caring, warmth and support needed so desperately by so many youth who become homeless, incarcerated, or entrenched in the foster care system.

Big News from The Friends of the Children’s Museum at La Habra

“We’re happy to welcome you back!

Article posted in the Village Movement California Newsletter about South Bay Village, Torrance CA

 “Tales From the Village Vaccinate South Bay Village Members By Ghislaine (Ges) Davis, Executive Director South Bay Village is based in Torrance and serves the city and the surrounding area in Los Angeles County. As in most communities, getting access to the COVID vaccine can be a frustrating and time-consuming activity filled with conflicting information, incomplete communication, and even cancelled appointments. Joan Day, an office manager at South Bay Village, had a great idea: have village volunteers help members make appointments for the vaccine. Here’s how we set it up. Village volunteers call all members to ask if they would like help making an appointment for the vaccine. Many members want this help and agree, up front, to accept any vaccination location in the area and any available date and time the volunteer can arrange….”