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The Brazilian Way

Each culture has its own stereotype, and Latin Americans in general – specifically Brazilians – are expected to be happy-emotional-hot-friendly people. As it is with any stereotype, (although this is not a totally wrong assumption), it is a generalization, and it is not our deep dark selves – of course. From my “insider” point of view, I would say that our best, not stereotyped characteristic is resiliency and flexibility.

We are as Sound Engineers multitaskers.

To begin with, we have a lot of difficulty in becoming sound engineers at all. The first bachelor’s degree in audio in Brazil was offered starting in 2001. Before that, we had to rely only on shorter courses (excellent ones), which began around 1994. But there were no specific degrees for audio. One could study for a bachelor’s in engineering (electrical, electronic or any other branch of engineering) and specialize a little in acoustical engineering. We all know that it is not exactly what you need to be a sound engineer. But it is an excellent degree to have. So most of us don’t have a degree, or we have degrees in “whatever”: I have known sound technicians with degrees varying from psychology to physics. Today we have more courses, more options for learning the craft of sound. The internet has helped access to fresh information. But still, formal education in Brazil is for the few.

Another characteristic is that things in Brazil change drastically. So you might suddenly have a lot of jobs in sound reinforcement, and five years later there could be a political or economic crisis that forces you to look for jobs in mastering. One year you have a lack of professionals for sound editing, and ten years later you must know how to record live for 5.1 music programs.

It is very rare to be responsible for sound reinforcement for one artist for more than five years. There is no such concept as building a team that will be working for years and years. Often you are responsible for FOH or monitor mixing for more than one artist. We get paid for each show we do, we don’t have an estimated monthly income, so you have to work for many places to have a nice amount of tour dates for the whole year.

One artist will want you to do their P.A. Mix; another prefers you to mix their monitors. You have to know how to work in the FOH and onstage doing monitors.

During the nineties there was a lack of professionals for sound editing, you could work the whole year only editing. Now, there is no need at all for that professional. The same professional who records or mixes is the one who will be editing everything.

On some occasions, you will be the one setting up the sound system and the system engineer. So you must know how to do both jobs. You have to study and learn this. It is very common to have only one engineer doing FOH and Monitors at the same time, no matter where the console will be placed and no matter the size of the gig. It’s the real “just do it” thing.

Even when there was not a crisis in the music industry (when there was a budget for making a record, and you would be inside a studio, which would be locked out only for you, for a whole year), even then, you could find yourself recording and mixing. Rarely would you make a career only recording, or only mixing? Well, today, with artists recording on their own in their home studios, that dream of being specialized in recording is further away.

Most Brazilian sound engineers who are known as good mixers will take on Mastering. Of course, why not?  It is another job when times get tough.

So the world has made us quick learners and quick executors. Never do we have time to do things as they should be. We’re always wrapping it up very fast. It is almost a rule here: you travel to the venue the same day you will be doing the show. There are some of us who are teachers in the audio schools.

 

One day we’re mixing a show, the next we’re mixing a TV program. The following week, we’ll be setting up a system, and so on.

 

 

Obviously, there is a lack of in-depth knowledge in one particular branch of audio engineering. But there is a deep knowledge of sound in its various forms. And, we’re never in a comfort zone. Never ever. Always on the move.

 

Would we like to have more comfort? Yes, who doesn’t? But this is what we have and what we are. Working and being the Brazilian way.

 

FSAprofilepic1Florencia Saravia-Akamine has over 20 years dedicated exclusively to audio, whether in the studio or live. Today, she centered her activities in the areas of “live sound” and recording, editing and mixing for broadcasting. (This has changed through the years and will probably keep on changing everyday. 🙂

More on Florencia Saravia-Akamine at Pro Audio Clube

 

 

 

 

Madame Gandhi – On Women in the Industry

As we enter 2017 women’s issues, seem to be at the forefront of the countries mind and I encourage everyone to stand up and support women-led organizations and stand in solidarity with women worldwide. I was lucky to have met Madame Gandhi at Girl Power! Women Working in the Music Industry Conference: Blending Careers in Entertainment and Technology in San Francisco last April. It was a great way to start off the year. She was so amazing to listen to because she has worked at all levels of the industry. Working for Interscope Records as a data analyst and MIA as their drummer in an all-female lineup. She has an MBA from Harvard University. Listening to her explain algorithms just amazed me and taught me so much about boosting yourself on social media.

Aside from being an accomplished musician and music industry thinker, Madame Gandhi is also a feminist activist. I thought about all of her experience, and it made sense to interview her to find out more about women in the industry from someone who has been on all ends of the music spectrum. I was very excited when she agreed to the interview. I think the most exciting thing for me was the way she answered my questions. I received audio answers. It made the experience so much more intimate. Here is what Madame Gandhi had to say.

What is your experience working with women on a sound crew? Has it been good? How does having women on your sound crew affect your show experience?

OMG, It’s like a game-changer. It’s totally night and day. It’s extremely important for me to work with an all-female team especially when it comes to sound. I think women are really talented at doing live sound and sound design on the actual records for two reasons; one is that women are more emotionally sensitive and aware of what’s going on, so they respect both the needs of the artist, but also the needs of the audience at the time. I think that when I have worked with men, they’re kinda more rudimentary about it, and also a lot of them are really burned out from being treated badly on the road. Because I as a drummer have experienced that sort of “subtle sexism,” I know how to work against it and prevent it, in the way I treat my fellow women. So, those are some of the reasons I think it’s really important and actually quite exceptional to have a female sound team.

The other thing too is when giving feedback when I’m like “ooh no this doesn’t feel good, or I want this louder, I want this softer” a lot of times men are condescending. They think you don’t know what it is that you need or want, which is really frustrating and women are like, dude my job is to make you feel good on the stage and feel what you feel. What you feel isn’t right or wrong it just is and so, therefore, how can I augment the sound or make subtle changes so that you feel really good doing your show and you’re not thinking about the sound. That’s how you build trust, and that’s how you build mutual respect. I really do prefer to work with women. If any men are reading this too, I would say that they should learn how to be more trustworthy and respectful of the artist on their stage and just give them what they want, so long as the artist is respectful and kind in return.

What is your advice for a woman who wants to pursue sound engineering as a profession?

Just keep doing it. No one is gonna sit there and teach you. It really is that you have to go and kinda just hang around at the clubs and the bars. Start watching someone else do it, usually a guy, and be like “oh, hey you need someone to plug that mic in, sure I got you”. You have to fill in where they wouldn’t even ask for help they just could use it. Most sound people are so frustrated that they don’t ask for help because they think that you’ll make a mistake so why would they want to do it twice like you’ll make a mistake and then they’ll have to undo your work. If you spend time watching, then you start assisting with the really basic tasks, then they’ll start mentoring you and giving you more stuff because you’ve made their life better.

MADAME GANDHI - MIAThe dream scenario is: you wanna get to be a person who’s super helpful in the beginning and like reading stuff on the side not asking the sound person too much but more just watching. You’ve become so helpful that if you left and you didn’t help them out at each of their shows, they would really miss you, you know, the person who is mentoring you. So, you wanna get to a place where you’re making their life less stressful and therefore, in turn, they’ll wanna show you more and then you get to learn. All the female sound engineers that I know learned from men and learned by being humble and helpful instead of being annoying and asking too many questions. I want to give some love right now; My FOH sound engineer right now is Jess Jacobs, and my sound designer who performs live on the stage with me is Alexia Ryner.

How do you see yourself assisting in the advancement of feminism in music this year?

It’s all about taking my ideas about the world that I wish we lived in and what the future is females means and what women’s contributions bring to the table and then expressing it through my voice, which could either be musically or through speaking and writing. That’s what I think about daily. Every time I have ideas, I write them down. Then if I’m asked to give a talk or a show, I try to take the recent learnings or ideas that I’ve had from that month from my notes and then put them into that show or talk so that everything that I do is fresh and inspired.

What obstacles do women in the music industry face today? Are there still obstacles? What work needs to be done to provide women in the industry more opportunities?

I think one of the biggest ones is people underestimating them. I think it’s really frustrating to walk into a situation where someone already thinks you’re gonna be bad at what you do. I think another obstacle is that some of the old-school constructs still exist. Where you bond over going to maybe a strip club or you bond over commenting on how hot one of the artists is, you sort of bond over misogyny. It’s not cool.

I think a lot of time women are the only ones in a situation with a bunch of men saying sexists things; it’s weird that we don’t live in a world where the fact that the woman is right there is not enough of a check to make you not want to say sexist things. A lot of us have been in situations where just because we want the job or we want to be able to hang with that crowd, we sort of bite the bullet and take in that sexism and allow it to slide. I think those are some of the biggest barriers on an emotional end on a very practical level.

I think another barrier is the fact that we haven’t seen many female CEOs of record labels and big companies. The best female-run companies I’ve seen are those who leave their old company and go and start their own thing. For example, my management team that I’m assigned to is called Friends at Work which was started by Ty Stiklorius, who’s a badass billboard 100 in music woman. She manages John Legend and Alicia Keys and now is the head of my management company. So that’s pretty extraordinary. I think a lot of times women have to just self-select out and just start their own thing, once they’ve reached a certain level of prestige because if we depend on men to give us the positions that we want, we may be waiting for a long time. Even at my booking agency, my booking agent is this badass woman, Amy Davidman. She’s one of the top people at Windish. She has a really incredible wife. They understand very much, my mission and so then both on an emotional and very practical level Amy is perfect for the job. So, I think those are some of the things. You have to kill it, and then you probably have to start your own thing and then set norms within your own company that actually make a difference in the world.

How did your experience drumming for MIA influence your ideas about women in music

MADAME GANDHI- DRUMMING MIAI mean, MIA used to only put women on her stage. It was so badass. I’ll never forget one day, I came across a tweet that I was tagged in that said “OMG, it is so incredible that MIA has only women on her stage right now. These girls are killing it”.

I think that when you get to be as big as she is you have the ability to put women on and really paint the picture that you wanna see in the world. And I think just by doing that and showing how sick the show can be with only women changes a lot of people’s perspectives and stereotypes about what’s possible and about the capabilities of women in music. So, I think that was one of the biggest things.

I also learned about some of the stresses through her. I think she definitely keeps space from a lot of people. I think she continually changes her line up and the people who are working for her and in her show because with women, people tend to push women around more. They tend to expect more; they tend to give their input when they weren’t asked, and so, I think she rotates her line up a lot so that she can keep performing freely without the pressures of others. I think people give men the space they need to create and the respect they need as an artist, but I think with women people think that their opinions are open and welcome even though they’re really not.

You are booked to play GIRLSCHOOL in January. How did you get involved with their festival? Do you think we need more festivals that have women-fronted artists?

Obviously, I do. I think it’s a kind of push and pull. It’s like you wanna have a lot of female-focused and fronted festivals so that we as women can kind of bond with each other and show that there’s power in solidarity and not in competition. And also just to be with those that have a really similar walk of life as you and who can teach you something and who can uplift you so that when you do go into the more co-ed environment, you are equipped with the tools and some of the emotional strength to deal with it.

Anything else you would like to share?

Yeah, I love that you’re doing this blog. I think that being able to share the experiences of other women is really empowering. I think that each of us as women who are doing well owes it to each other to give each other the tools we’ve learned along the way. I think that successful people are not threatened by the success of others, which is the notion of the Future is Female and the notion that Gloria Steinem talks about all the time called “we are linked and not ranked”. You know, the male energy in the capitalist system is that it’s a zero-sum game. For one person to win someone has to lose. But in a Future that is Female, the idea is instead that each of us has something very unique and special to contribute. So by giving each other the space and the respect to be our best selves then we actually live in a far better world than one where we’re trying to dominate and control each other.

Madame Gandhi - FUTURE IS FEMALE

I completely agree with Madame Gandhi about the need for less competition and more solidarity among women in the industry. Interviewing Madame Gandhi was so enlightening, and I thank you so much for your voice and support for women in the industry. I look forward to her playing the California Women’s Music Festival.

You can read more about Madame Gandhi and check out her page to learn more about her activism, show dates, and more.

Without Reflection – We Go Blindly on Our Way

You know that amazing feeling of turning up on a gig and finding you’re working with an old friend? Imagine that feeling when you are the other side of the world from home! What a fantastic end to the year. Our New Year’s Eve concert this year was a Broadway Gala. Conducted by the legendary David Charles Abell and sung by Simon Keenlyside with Jodie Jacobs with the Prague Philharmonia Orchestra. As much as I love the diversity of productions here, it was great to hear some familiar musical theatre songs. It brought back lots of happy memories from the West End and touring.

This time of year we naturally look back upon our past experiences. A large emphasis during my teacher training was on reflective learning. I was required to keep a reflective journal and keep notes from every lesson that I taught. This was a tall order given the huge amount of lesson planning involved! As tough as it was, it set me off at a great pace into my first teaching year. I found that this intense reflective process meant that I picked up on ineffective teaching habits quickly. I could make assessments of my pupil’s learning and see how my actions during that lesson helped them- or not!

Back in the world of sound, these same techniques can be applied. Given it is the start of a new year, why not give it a go? You could keep a journal or just take time out of your day to think about how you performed. Here are a few examples:

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At the end of a show ask yourself, ‘What went well?’. Don’t go overboard. Just pick two or three things that you were really pleased with and make sure they are specific. For example, you might have been really pleased with the way you EQ’d a particular instrument.

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Even better if… This can be dangerous if you are like me and are over-critical! So you need to limit yourself to one thing you could improve on. For example, I need to improve my knowledge about dual compression for my next show. Having said that, we are all different. I often meet people who think that they ‘nail’ every show they do. There is always something we can improve on!

Peer review

Get talking to your colleagues. What do you think they do particularly well? Have you told them lately? Again, make sure you are specific. It’s nice being told that you are ‘great at your job’ but at what precisely?

Find a mentor

I am very lucky to have worked with some very talented sound engineers that have had a very supportive role in my career. One friend, in particular, has stuck by me through bad and worse. You need these people in your life! In return is there someone you could mentor? Pass on the knowledge.

Reflection is by no means about beating yourself up about what you can’t yet do rather a way to structure self-improvement. A pretty nice alternative to New Year’s Resolutions! Happy New Year!

‘Without reflection, we go blindly on our way, creating more unintended consequences, and failing to achieve anything useful.’

Margaret J Wheatley

Navigating the Build – Moving Day and More

I can’t believe it’s time. Five years ago I sat in a room with my coworkers and an architect and had a discussion about dreaming big; designing and planning a new student center that would have everything we wanted – everything we could dream of.  Of course shortly after that reality hit. The new student center is a state project with red tape and a limited budget. There’s always a limited budget.  Time to get realistic and decide what we need and list our wants in hopes there will be money left over for them.  Fast forward to the week before Christmas. The building is up, the meeting room programming is almost complete, and it’s time to get ready to move. Sounds pretty simple, however mobilizing such a big operation has been quite the ordeal.

As I am writing this blog, the equipment has been packed for two weeks but has not been picked up or delivered. The moving project turned out to be significantly more of an undertaking than anyone could have expected.

Preparation for the move meant a lot of packing.  Overall, it went pretty smoothly, which is why my stuff has been ready to go for the past two weeks.  Road cases are a marvelous invention! They are unique to our business and gave me an advantage over some of the other areas which also had to prepare for their move.  My department alone has 30 road cases, 55 pieces of equipment of various sizes, and 60 boxes of stuff to move.  

What slowed the process down were the memories; the historical representation of items found in the far back of closets; things that haven’t seen the light of day in years. For instance, as we were cleaning we found a projector from the ’80s and flyers from concerts held in the early ’90s.  With each item came conversation about “the old days.” Then there is the equipment we are retiring old and outdated equipment, including; a full lighting rig that hasn’t been updated since 1984, PAs that have been parted and pieced apart for years, and many other items that should have been retired years ago.  I finally get to move on from a light board that used a floppy disk for storage!  

light-board-floppy-disksThere are two parts of the move that have been hard.  One has been having the patience to wait for someone to move our stuff.  My team and I transport this equipment all the time for events.  But the labor has been contracted, and we have to wait and watch as others complete the task. The second is that some of the required equipment and other logistical necessities were not finished as we took occupancy. Some of these things are quick fixes like changing out light connections; others are going to take weeks and months to get finished.

The most frustrating part for me is that so many of these items are out of my hands, as they are considered part of the construction and punch-list items that other people are responsible for. I can’t change the situation so I will make the best of what I have and the resources given to me to create workarounds. For example, I will do what I can with my QSC’s on sticks and lights on stands. I’ll work toward solving some of the problems and must let others work on the problems I can’t fix. It is hard not to be able to get things done, but my job at this point it to find temporary fixes for my customers until the permanent fixes are in place.

new-multipurpose-roomIt’s exciting to think about working in a brand new facility.  Our soft opening was on January 3rd, and I am grateful that there is some time before the larger events. Perhaps by then the equipment we are missing will be available.  If not, I will be renting from some local companies until we can get our purchases figured out and installed.

You can read more on Heather’s Adventures in the Design and Build of the new Student Center.

Navigating a New Building – Planning the Build.

Navigating the Build – 100 Days to Show Time.

 

 

On Diversity in the Industry

These are a few of the questions I am asked on a regular basis.

Have things improved since you started in the industry?

The climate has changed since I first got into the audio industry as a student (in 1999). Back then, you’d go to an audio trade show (like AES or NAMM) and the women who generally got attention were “booth babes” (women dressed in skimpy clothes and taking photos with guys visiting their booth). Today, women working the floor and attending conventions are generally knowledgeable of the products they are selling or buying. You’ll meet interesting women who are engineers, mixers, product designers, product managers, software developers.

How often did you meet other women in the field back then?

It used to be rare to see female engineers or mixers in audio magazines or speaking publicly.

I didn’t meet or interact with a professional female engineer until my last year of college. I remember spending a lot of time observing my professor, Martha DeFrancesco, a classical music producer. I was intrigued about how she communicated and interacted during sessions because I really didn’t know how I should act or carry myself. It’s a balance for any producer to offer input and lead a session without being too aggressive or authoritarian – especially a female producer. Martha was a great role model for how to do that effectively.

Do you believe the film industry is sexist?

I think there’s a big difference between lack of diversity and sexism. I view sexism as saying a woman doesn’t deserve a job or opportunity as much as a man. In the US, that would be called “sex-based discrimination.” While this may be happening in some roles in the film industry, I generally don’t see it on the audio side. The audio industry (for film/tv) isn’t necessarily sexist; there’s just a lot of guys!

That’s not to say I haven’t experienced sex-based discrimination. I was asked at an interview once if I was married or planning on having kids soon (illegal!). A studio owner once told me he’d never hire a female assistant again because he had to fire the last one (illegal!) In instances like that, I could have easily reported it and got them in trouble, but it’s a catch-22 when you want (or need) a job. That’s the real battle that women and marginalized people face in the industry: when to speak up. Sometimes the higher road is to move on. You have to pick your battles and some aren’t worth fighting – not because you won’t win but because some opportunities (or difficult people) aren’t worth the effort.

Why are there not more women in top jobs? Is there a glass ceiling?

Most people who are getting into our field today have an equal opportunity if they are willing to put in the time/effort plus have the temperament and necessary skills (such as technical, business and social) to be employable. It could look biased if you compare across all levels of experience but someone entering the field today can’t compare themselves to someone who’s been in the field 30 years. Being realistic about it: If you’re looking for someone with 25 years of experience in the audio industry (in roles like engineer or mixer), there’s a 99% chance it’s going to be a guy. But, if you’re looking for someone with 10-15 years of experience, there’s maybe 90-95% chance of being a guy. That may not seem like a big difference, but as our big-name industry veterans start to retire (say, in the next ten years), there’s going to be qualified women moving into some of those top-tier jobs. In time, that circle will continue to grow. In 15 years, the look of the industry (and the dynamic) could be very different – and that’s when someone getting in the field today will be qualified for those top-tier opportunities.

What are your thoughts on helping/recommending other women who need work?

Some would argue that we (as women in the field) need to help other women get jobs but isn’t that a form of bias, too? I don’t recommend friends or family unless I’m positive they are the best person for the job, so why would I prioritize someone just because of their gender or race? When I meet a woman who needs help finding work, I treat her exactly the same as a man; I ask, what is her experience level? How is her attitude? How open is she to learning? Does she seem like a good match for any professionals/facilities I have a relationship with already? I’m happy to recommend someone for a job or internship when I think the relationship will benefit both parties.

With that said, I think there’s a huge benefit to being visible and accessible to other women (when it seems appropriate) and that can lead to opportunities. Maybe it’s as simple as an email exchange, meeting for coffee, introduction, or letting someone sit in with you on the job for a day. In some cases, that support may be assistance with job placement or an internship/mentorship.

The more women share stories and knowledge it’ll allow other women who are interested in the field or who need assistance to come forward for that support. That’s the great thing about organizations like Soundgirls.org or Women’s Audio Mission that bring us together. They’re openly saying, “yeah, there are women working in the field and they do the job just as well as anyone else.” Not only can we find each other, but we are becoming a support network to each other in ways other than just “help me find a job.” In the end, that kind of support makes us unique – and that could attract more women to the field, too.

What are you going to stand up for this year?

There is a story in We Should All Be Feminists by Chimamanda Ngozi Adichie, from her childhood in Nigeria. Her teacher told her class that the student with the highest score on a particular test would become the class monitor. But when Adichie got the highest score, her teacher said the class monitor had to be a boy. So the job was given to a male student. At the end of the story, she says this:

“If we do something over and over again, it becomes normal. If we see the same thing over and over again, it becomes normal. If only boys are made class monitor, then at some point we will all think, even if unconsciously, that the class monitor has to be a boy. If we keep seeing only men as heads of corporations, it starts to seem “natural” that only men should be heads of corporations.”

Adichie’s words resonated with me, as I’m sure they resonate with many women working in sound. How many times have you experienced an automatic assumption that sound engineers are male? From the upfront “Oh, I thought you’d be a guy” when you arrive at a gig, to articles in industry publications that consistently use male pronouns when referring to sound engineers, to the lack of women on industry panels.

Last year I was invited to speak on the panel of an audio event. One of the questions put to me was why I thought there were so few women working in professional sound. I asked the audience to consider how visible women are in the industry. Open any industry magazine and count the number of women featured in it – that is to say, women interviewed or profiled, not just included in photographs (although that’s worth noting as well). Unless it’s a publication specifically aimed or about women working in music and sound, I can guarantee that there are significantly fewer women featured than men.

What message does that send to girls and young women wanting to explore a career in sound? Just as Adichie says, if we see something over and over again, it becomes normal. At the moment the industry reinforces the message that it doesn’t look “natural” for a woman to become a sound engineer. As I told the audience at this event, if a young person looks at a career path and they don’t see someone with whom they can identify, then they will be far less inclined to go after that career path.

After the panel, I chatted with organisers of the event, and we discussed the lack of women in the magazine published by their company. One of the organisers suggested that this was because their publication reflected the current makeup of the industry (mainly men) and that they’d include more women if there were more working in the industry. My response back to her was: it may be how the industry looks at the moment, but do you want it to look this way, always?

The turbulent political and social events that shaped last year served as a clear reminder to me that if I want more women to feel they have a place, in general, and in our industry specifically, I have to fight for it. I want to see more women in the sound industry, more active supporters of women working in sound, and more girls and young women actively pursuing careers in audio.

There are many forms of active support. You can speak up when you hear or read bigoted or divisive rhetoric. You can write to industry publications and conferences and ask them about their commitment to diversity. You can volunteer your services to your local SoundGirls chapter for community outreach programmes and be part of encouraging and educating the next generation of sound engineers. Show them that there is a place for them.

Whatever you choose to do, it’s important you act on it. Aim to be heard. The challenges that you see won’t change on their own. This year, what are you going to do about them? How are you going to stand up?

SoundGirls NAMM Sunday Breakfast

Join us on January 22st at 9:00 am for breakfast

We are looking forward to meeting members from near and far.  Even if you are not attending NAMM you are welcome to join us.

The La Brea Bakery in Downtown Disney is close to NAMM allows members time to talk before the last day of NAMM starts.

RSVP to soundgirls@soundgirls.org so we can get a head count.

La Brea Bakery

SoundGirls NAMM Saturday Night Dinner

Join us on January 21st at 7:00 pm for dinner and drinks

We are looking forward to meeting members from near and far.  Even if you are not attending NAMM you are welcome to join us.

The Gypsy Den is a good mix for vegans and non-vegans.  They are open until 10 pm and serve drinks. It is off campus so you can escape the hustle and bustle of NAMM.  It is about 13 minutes away and a perfect use of Uber. RSVP to soundgirls@soundgirls.org so we can get a head count.

The Gypsy Den

 

SoundGirls Join Women’s March on Washington – Los Angeles

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Women’s March on Washington – Los Angeles

Several of our members will be taking part in the historic march. Let’s march as a group.

SoundGirls – Executive Director Karrie Keyes and Co-Director Tiffany Hendren will meet members that want to march at The Last BookStore at 8 am. At 8:30 we will walk to Pershing Square to join the march.  The March starts at 10 am and will end at City Hall.

Please note: allow yourself enough time to find parking – there will be road closures due to the march. Comfy shoes and water. The march is one mile.

For more info on the Women’s March on Washington Los Angeles

SoundGirls Members Meet at

The Last Bookstore

453 S Spring St – Ground Floor

Los Angeles, CA 90013

8:00 am

If you miss us – text us at 805 797 0761

WHEN

Saturday, January 21, 2017

9:00 AM – 4:00 PM PST

WHERE

Downtown L.A.

Pershing Square to City Hall

WHO

The march is open to everyone who stands for human rights, civil liberties, tolerance of diversity, and compassion for our shared humanity.

 

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