…Absolutely guaranteed anonymity – Former Musician’s Union officer
…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician


[EC: And this was 11 years ago,.. the situation is far more dire now.]


Total direct production expenditures of U.S. economic runaways
[Note that creative runaways are not included] # =

• Total expenditures to produce a film / show
(Baseline; Variety; Hollywood Reporter)


Direct spending recaptured by the U.S. =
• #Payments made to U.S. companies and citizens were allocated
back to the U.S. since the money returns to the U.S. economy

• #Payments include principal actors and director salaries and post
production (Production Executive Interviews, Sample Budgets,
Monitor Analysis)


Total direct spending lost from the U.S. #=
• Total production cost net of spending returned to the U.S.
Multiplier effect of direct spending lost = #
• A multiplier of 3.1 was applied to wages and salaries (Bureau of
Economic Analysis) #
• A multiplier of 3.6 was applied to goods and services (Bureau of
Economic Analysis)


Tax revenue lost #=
• Tax rates of 30%, 8.5%, 10% and 7.2% were used for federal
income tax, state income tax, payroll tax and state sales tax,
respectively (IRS, Sales Tax Institute, Dept. of Labor and


Total economic impact #
• The total amount of money not realized by the U.S. economy as a
result of U.S. economic runaway
Furthermore, when a production runs away, the payroll, income and
sales taxes on the direct spending and multiplier spending are also
lost to the U.S. National and state average tax rates were applied to
calculate the total tax revenue lost to the U.S. at the Federal and state
level in addition to the direct spending and multiplied spending lost.
The lost tax revenues totaled $1.9 billion in 1998.

$2.8 billion in direct expenditures were lost to the U.S. in 1998 from
both theatrical films and television economic runaways. This figure is
almost six times the annual impact on the U.S. in 1990.

Future Impact

The study also sought to assess the likely future impact of U.S.
economic runaway production through 2001. A number of future
scenarios were evaluated, reflecting several potential environments
for production volumes. For example, positive U.S. economic growth,
a slowing of U.S. economic growth, and relative strength/weakness in
key foreign exchange rates and production incentives were considered
in gauging the likely future impact of U.S. runaway economic
production. Note that these scenarios assume no major U.S. response
to the economic runaway problem.

Under these scenarios, without major intervention to address the
causes outlined in Section III, the level of runaway production will
remain significant. The total number of U.S. economic runaways could
range from 327 to 476 by 2001, but will not likely decline from the 285
economic runaway productions in 1998. The annual economic impact
on the U.S. could range from $10 billion to $15.1 billion by 2001. By
2001, lost full-time equivalent positions could total between 22,500
and 36,000 annually.

Foreign Tax Incentives

Not surprisingly, Canada has led the charge by offering federal rebates
since 1996 of 11% on spending for all Canadian labor involved in a
production, regardless of content. Provincial governments were quick
to supplement these incentives, creating a total of a 22% to 46%
rebate on Canadian labor expenditures (see Exhibit 21). Some
advantages of these incentives are that they are available to all
productions, have no annual limits to the number of rebates being
offered, greatly simplify paperwork, and are structured as direct
rebates, not tax credits. Several companies have entered into the
business of filing paperwork and providing advances on the incentives
to producers in exchange for a fee, helping producers address cash
flow issues.

Unlike other countries, Canada has gone out of its way to ensure that
producers are aware of the incentives and their subsequent savings.

It is not uncommon for Canadian government officials and film
commission representatives to fly to Los Angeles, New York City, or
other U.S. production centers to attend events or meet directly with
film and television producers to advertise their incentive structure.
For example, representatives of Revenue Canada (the Canadian IRS)
were at the recent “Locations `99” show in Los Angeles, promoting the
Canadian incentives. Canadian labor and industry representatives
have indicated that incentives are geared to attract foreign
productions. Recent initiatives in Canada to discontinue the incentives
for foreign producers have been met with strong opposition from
Canadian labor and government officials, who note that these
productions represent several thousand jobs and millions of dollars in
economic impact, more than offsetting the money paid in incentives.
Once production is completed, additional savings can be realized by
applying for tax rebates associated with Canadian labor spending.
The exact amount realized is determined by the amount of Canadian
labor used. In a typical case, the incentives would increase the total
budget savings to 25% – 26%.


U.S. Studios make sizeable infrastructure investments in locations
outside U.S.

Viacom (Paramount)

June, 1994 — Viacom establishes Viacom Canada, which will spend $1
million a year over five years on “Canadian culture.” It is rumored the
investment was a “sweetener” to encourage the government to pass
the CAVCO tax credit #
September, 1995 — Paramount opens production support companies in
Vancouver and Toronto to service the equipment rental needs for
Paramount and other Viacom holdings

June, 1997 — Paramount Studios invests over $10 M to construct four
sound stages and production office space in Vancouver. The facility is
166,000 square feet.


October, 1996 — Disney purchases a 12,600square-foot multimedia
studio in Victoria, British Columbia
December, 1996 — Walt Disney Animation Canada opens a 17,000-
square-foot studio in Vancouver


May, 1997 — MGM and Bridge Studios jointly open 25,000-square-foot
Studio 5/6 in Vancouver. The BC government invested C$3.5 million.
Warner Brothers
1988 Warner Roadshow studio opens in Queensland, Australia (76,347
sq. ft)

Fox builds $125M water-tankbased studio in Rosarito Beach, Mexico
Fox Studios Australia opens in Sydney, valued at $130.5M

At least 4 of 9 major studios have publicly stated their intention to
increase production abroad; the increased globalization of
entertainment companies is likely to stimulate further runaway

Source: Annual Reports; Variety; Screen Digest; Film Commissions #

How Large Is The Gap To Be Closed?

Clearly the U.S. faces major challenges in stemming the tide of
runaway production. The solutions will not be simple because the
causes are several and very complex. However, the cost gap to be
closed to retain production in the U.S. may not be the entire 25%
production cost disadvantage. Several producers interviewed
mentioned that if the budgets for U.S. productions were brought to
within 10% to 15% of costs in Canada, then they would make the
argument to keep that production in the U.S. Producers generally
want to work where they live, and most live in the U.S. production
clusters. Furthermore, these clusters contain all the resources
required, as well as access to financing, development, and distribution
resources, which provide a distinct advantage to producers. Obviously,
certain productions cannot afford even a 10% cost disadvantage;
recapturing these productions will be the greatest challenge.
It is important to note that U.S. film and television economic runaway
activity is at a high level, and that large productions are running away.
The significantly lower total production costs achievable abroad are
compelling to producers. The experience that foreign production
crews, actors and directors have gained in filming U.S. runaway
productions represents an ongoing source of advantage that for these
producing locations. Similarly, infrastructure investments abroad
represent permanent improvements that will continue to draw
productions out of the U.S. Without a meaningful response (or some
unforeseen development abroad), production employment
opportunities and associated economic benefits will continue to leave
the U.S. at a significant rate.




DEAN AND RICHARD are now playing every third Friday
at Culver City Elks 7:30pm-10;30pm,
11160 Washington Pl.
Culver City, 90232



Every 2nd and 4th Tuesday of the month at Viva Cantina
900 Riverside Drive, Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way they
should be.

We are in the back room called the Trailside Room.

Come on down. Guaranteed to swing.



Please pass the word that the annual auditions for the CalStateLA
Symphony Orchestra/Olympia Youth Orchestra for the 2016-2017 season
will begin in June through mid August immediately after the season is

Qualified students may submit the form on line at the website

under “youth orchestra”.

I will be in touch to set up a time during the summer. The next
season begins late September of this year through early June of 2017.

The orchestra consists of talented students age 12 through college
age. Rehearsals are at CSULA on Sundays at 4:30-7PM. Tuition is $650
for the entire year. Scholarship is available on a need or merit
basis depending on instrument and individual student. The orchestra
students will also be able to take optional transferable college
credits from CSULA, perform with college music students in 4 on and
off campus concerts.

This is a great orchestra with lots of talented students taking part.
I look forward to hearing from students learning all orchestral

Thank you!

Fung Ho
Music Director & Conductor
CalStateLA Symphony Orchestra/Olympia Youth Orchestra



ASMAC FIRST WEDNESDAYS features Jack Smalley

Wednesday, June 1st 7PM at the AFM Local 47 Auditorium

Jack Smalley, film and television composer, mentor of mentors
and mentor of composing legends will share valuable film and
television scoring techniques. Learn more about Jack during
an interview by special guest Perry Botkin, Jr.  followed by Jack’s in depth demonstration which includes printed scores, study material and audio examples.
After the war (WWII), Jack took the G.I. bill back to Europe and studied composition with Darius Milhaud at the Conservatoire de Musique in Paris France for almost 4 years. While in Paris, he performed with guitarist Django Reinhardt, and American singer Annie Ross.
Back in the states, he worked a bit with Vido Musso, Gerry Mulligan, Alvino Ray and Ray Conliff, then over five years with the Page Cavanaugh trio and he studied serial composition with George Tremblay in Los Angeles.
Smalley’s television work included composing for episodes of Streets of San Francisco and Barnaby Jones, and then he joined Jack Elliott and Allyn Ferguson working on Swat, Love Boat, Starsky and Hutch, and five years of Charlie’s Angels. In the meantime, Smalley wrote episodes for Knight Rider and Murder She Wrote and also orchestrated many films such as The Gladiator, Last of the Mohicans, and Conan the Barbarian.
Professor of Film Composition at USC for 20 years, and member of the permanent faculty at the Aspen Summer Music Festival, Jack was also on the faculty at the Dick Grove Music Workshop, and headed up  the composition program at the Henry Mancini Institute.
Authored “Composing Music for Film“, “Lyrics Lyrics Lyrics” which are both available at jacksmalley.com.
Also authored a biographical book about his first year in France called “The Music Came First” available at Amazon.com


Perry Botkin grew up in California and graduated from North Hollywood High School moving on to the University of Indiana and U.S.C as a trombone major. He joined the Army in 1953 and, after two years of service in the West Point Band, moved back to California and began his professional career.
In 1955, he joined the Rock group “The Cheers” as a singer, trombone player, and arranger. The Cheers had a hit record – Leiber/Stoller’s “Black Denim Trousers and Motorcycle Boots”. Perry left the group in 1956 and began his career as a freelance group singer, arranger, songwriter, and composer. He wrote arrangements for dozens of artists in Pop Rock and the “American Song book” world.
In the 70’s and 80’s were movies and TV.  He won a Grammy for Best Instrumental Arrangement (Nadia’s Theme) and was nominated for a Best Song Oscar (Bless the Beasts and Children). He is currently composing Avant/Garde electronic music. Perry also plays an important role, musically and personally, in a Documentary film about the creation of Hip Hop. “Sample This” is the title…. It was released in art theaters in New York, Chicago, Los Angeles, and San Francisco. More info at perrybotkinmusic.com.




The Corbin Bowl and San Fernando Valley Symphony Orchestra
Present Concerts at the “Bowl” in the “Corbin Lounge”
Wednesday Evenings at 7:30 pm

June  1
The SFVSO Jazz Band
Performs standards from the Great American Songbook, featuring
Jimi Dee, guitar; Ron Singer, saxophone/flute; Adrian Miller, trumpet/
flugelhorn; Larry Muradian, bass and Chuck Burkinshaw, drums


June  8
The Symphomaniax
Perform music from baroque to contemporary by Bach, Domine, Vivaldi,
and others, as well as a selection of “pop” classics, featuring James Domine,
guitar; Ruth Bruegger, violin; Glenn Grab, ‘cello and Larry Muradian, bass

June 15
The Screaming Clams
Rock ‘n’ Roll with music of the ’60s and early ’70s, featuring
Jimi Dee, lead quitar and vocals; Joel Domine, keys and guitar;
Larry Muradian, bass; Nick Scarmack, drummer and Rebecca Ray,
vocalist extraordinaire

June 22

The Blues Bandits
Play and sing the “Blues,” featuring David Reo, guitar and vocals; Jimi Dee,
guitar and vocals; Larry Muradian, bass and Chuck Burkinshaw, drums

June 29
The Screaming Clams, part 2
Rock ‘n’ Roll with music of the ’60s and early ’70s, featuring
Jimi Dee, lead quitar and vocals; Joel Domine, keys and guitar;
Larry Muradian, bass; Nick Scarmack, drummer and Rebecca Ray,
vocalist extraordinaire

“Lounge” at the Corbin Bowl
19616 Ventura Boulevard, Tarzana

Free Admission/ONE Drink Minimum
Persons under 21 years of age not admitted




Info about the next and upcoming programs through the end of 2016
at the Edendale Up Close Concerts series:
Free hour long concerts performed by professional musicians
take place 7 times a year at this Saturday noon concert series hosted by the Edendale Branch Library in Echo Park.

Thank you for your support in publicizing
the Edendale Up Close Concerts!

Jacqueline Suzuki
Curator, Edendale Up Close Concerts
818 240 -5108

On Saturday JUNE 4, 2016 at Noon-1:00pm
the free admission Edendale Up Close Concerts series
will feature the Don Rader Jazz Quartet
performing the American Songbook
in the Community Room of the Edendale Branch Library in Echo Park,
2011 W. Sunset Boulevard
Los Angeles, CA 90026
Free parking in the library lot (enter lot from Alvarado).
For more information call (213) 207-3000
Website http://edendaleupclose.blogspot.com

The American Songbook
Don Rader – trumpet
Gary Solt – guitar
Dave Parlato – bass
Timm Boatman – drums
Interesting interview with Don Rader:




Dear Friends & Colleagues:

I am pleased to announce that the CalStateLA
Symphony Orchestra/ Olympia Youth Orchestra will
be giving its 2nd annual performance of
this season on Sunday, June 5, 2016 at 3PM at the
historic San Gabriel Mission Playhouse,
320 S Mission Drive, San Gabriel, CA

This concert is Admission FREE.

This time, we will be featuring Taiwanese violinist
Chien-Tang Wang, Gold Medal Prize Winner of the
2015 Osaka International Competition in Japan,
performing the Sibelius Violin Concerto. Angela Che
and Jeongwon Claire An, the concertmaster and
co-concertmaster of the orchestra, will perform the
Navarra for 2 violins by Sarasate.
A brand new composition by Sharon Hurvitz will be
receiving its world premiere performance, and the
Tchaikovsky Swan Lake will close the program.

Please invite your friends and family to come and
join us to witness the talents of these fine young

Looking forward to seeing everyone there.

Fung Ho



ASMAC Master Class: Telling a Story with Music

Saturday, June 11th, 2016 11am – 2pm
Valley College Music Department Recital Hall
5800 Fulton Ave.
Van Nuys, CA 91401

Opportunities in Ballet, Opera, Theater and Concert Music
There are many projects that can benefit from your talents
and skills.
How to find and pitch a project;
How to get funding and produce.

Guests will show examples and discuss a variety of
approaches and techniques to inspire composers,
arrangers and orchestrators.


Jack Van Zandt
Jeannie Pool
Raymond Torres-Santos
Marlene Hajdu
$25 members (ACF members and NACUSA members included)
$40 non-members.



The Pacific Northwest Film Scoring Program
At The
Seattle Film Institute

is still accepting applications to the One year

Master of Music (MM) in Film Composition

Recently rated as the #4 school for film scoring education
in the world by Music School Central and the #2 school
for earning a Masters of Music degree in Film Composition

Study with program creator and lead instructor

Hummie Mann

2 Time Emmy Award Winning film composer of
“Robin Hood: Men in Tights” and featured in
Variety Magazine’s article “Leaders in Learning”

Click here to listen and watch student scores from previous years

Applications are now being accepted for the 2016
school year We offer rolling admissions – applying
early is recommended Scholarship support is
available to early applicants


You can read all previous offerings at:http://www.responsible47.com


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