I. FLASHBACK TIME – 2005 – PART VII – CONCLUSION
\nII. EVENTS<\/p>\n
…Absolutely guaranteed anonymity – Former Musician’s Union officer
\n…The one voice of reason in a sea of insanity – Nashville ‘first call’
\nscoring musician
\n…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
\n…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician<\/p>\n
======================================<\/p>\n
I. FLASHBACK TIME – 2005 – PART VII – CONCLUSION
\n[EC: And this was 11 years ago,.. the situation is far more dire now.]<\/p>\n
IMPACT ON U.S. ECONOMY WHEN PRODUCTIONS LEAVE U.S.<\/p>\n
Total direct production expenditures of U.S. economic runaways
\n[Note that creative runaways are not included] # =<\/p>\n
\u2022 Total expenditures to produce a film \/ show
\n(Baseline; Variety; Hollywood Reporter)<\/p>\n
MINUS<\/p>\n
Direct spending recaptured by the U.S. =
\n\u2022 #Payments made to U.S. companies and citizens were allocated
\nback to the U.S. since the money returns to the U.S. economy<\/p>\n
\u2022 #Payments include principal actors and director salaries and post
\nproduction (Production Executive Interviews, Sample Budgets,
\nMonitor Analysis)<\/p>\n
EQUALS<\/p>\n
Total direct spending lost from the U.S. #=
\n\u2022 Total production cost net of spending returned to the U.S.
\nPLUS
\nMultiplier effect of direct spending lost = #
\n\u2022 A multiplier of 3.1 was applied to wages and salaries (Bureau of
\nEconomic Analysis) #
\n\u2022 A multiplier of 3.6 was applied to goods and services (Bureau of
\nEconomic Analysis)<\/p>\n
PLUS<\/p>\n
Tax revenue lost #=
\n\u2022 Tax rates of 30%, 8.5%, 10% and 7.2% were used for federal
\nincome tax, state income tax, payroll tax and state sales tax,
\nrespectively (IRS, Sales Tax Institute, Dept. of Labor and
\nIndustry)<\/p>\n
EQUALS<\/p>\n
Total economic impact #
\n\u2022 The total amount of money not realized by the U.S. economy as a
\nresult of U.S. economic runaway
\nFurthermore, when a production runs away, the payroll, income and
\nsales taxes on the direct spending and multiplier spending are also
\nlost to the U.S. National and state average tax rates were applied to
\ncalculate the total tax revenue lost to the U.S. at the Federal and state
\nlevel in addition to the direct spending and multiplied spending lost.
\nThe lost tax revenues totaled $1.9 billion in 1998.<\/p>\n
$2.8 billion in direct expenditures were lost to the U.S. in 1998 from
\nboth theatrical films and television economic runaways. This figure is
\nalmost six times the annual impact on the U.S. in 1990.<\/p>\n
Future Impact<\/p>\n
The study also sought to assess the likely future impact of U.S.
\neconomic runaway production through 2001. A number of future
\nscenarios were evaluated, reflecting several potential environments
\nfor production volumes. For example, positive U.S. economic growth,
\na slowing of U.S. economic growth, and relative strength\/weakness in
\nkey foreign exchange rates and production incentives were considered
\nin gauging the likely future impact of U.S. runaway economic
\nproduction. Note that these scenarios assume no major U.S. response
\nto the economic runaway problem.<\/p>\n
Under these scenarios, without major intervention to address the
\ncauses outlined in Section III, the level of runaway production will
\nremain significant. The total number of U.S. economic runaways could
\nrange from 327 to 476 by 2001, but will not likely decline from the 285
\neconomic runaway productions in 1998. The annual economic impact
\non the U.S. could range from $10 billion to $15.1 billion by 2001. By
\n2001, lost full-time equivalent positions could total between 22,500
\nand 36,000 annually.<\/p>\n
Foreign Tax Incentives<\/p>\n
Not surprisingly, Canada has led the charge by offering federal rebates
\nsince 1996 of 11% on spending for all Canadian labor involved in a
\nproduction, regardless of content. Provincial governments were quick
\nto supplement these incentives, creating a total of a 22% to 46%
\nrebate on Canadian labor expenditures (see Exhibit 21). Some
\nadvantages of these incentives are that they are available to all
\nproductions, have no annual limits to the number of rebates being
\noffered, greatly simplify paperwork, and are structured as direct
\nrebates, not tax credits. Several companies have entered into the
\nbusiness of filing paperwork and providing advances on the incentives
\nto producers in exchange for a fee, helping producers address cash
\nflow issues.<\/p>\n
Unlike other countries, Canada has gone out of its way to ensure that
\nproducers are aware of the incentives and their subsequent savings.<\/p>\n
It is not uncommon for Canadian government officials and film
\ncommission representatives to fly to Los Angeles, New York City, or
\nother U.S. production centers to attend events or meet directly with
\nfilm and television producers to advertise their incentive structure.
\nFor example, representatives of Revenue Canada (the Canadian IRS)
\nwere at the recent \u201cLocations `99\u201d show in Los Angeles, promoting the
\nCanadian incentives. Canadian labor and industry representatives
\nhave indicated that incentives are geared to attract foreign
\nproductions. Recent initiatives in Canada to discontinue the incentives
\nfor foreign producers have been met with strong opposition from
\nCanadian labor and government officials, who note that these
\nproductions represent several thousand jobs and millions of dollars in
\neconomic impact, more than offsetting the money paid in incentives.
\nOnce production is completed, additional savings can be realized by
\napplying for tax rebates associated with Canadian labor spending.
\nThe exact amount realized is determined by the amount of Canadian
\nlabor used. In a typical case, the incentives would increase the total
\nbudget savings to 25% – 26%.<\/p>\n
DEVELOPMENT OF PRODUCTION CLUSTERS THROUGH U.S.
\nINVESTMENT ABROAD<\/p>\n
U.S. Studios make sizeable infrastructure investments in locations
\noutside U.S.<\/p>\n
Viacom (Paramount)<\/p>\n
June, 1994 \u2014 Viacom establishes Viacom Canada, which will spend $1
\nmillion a year over five years on \u201cCanadian culture.\u201d It is rumored the
\ninvestment was a \u201csweetener\u201d to encourage the government to pass
\nthe CAVCO tax credit #
\nSeptember, 1995 \u2014 Paramount opens production support companies in
\nVancouver and Toronto to service the equipment rental needs for
\nParamount and other Viacom holdings<\/p>\n
June, 1997 \u2014 Paramount Studios invests over $10 M to construct four
\nsound stages and production office space in Vancouver. The facility is
\n166,000 square feet.<\/p>\n
Disney<\/p>\n
October, 1996 \u2014 Disney purchases a 12,600square-foot multimedia
\nstudio in Victoria, British Columbia
\nDecember, 1996 \u2014 Walt Disney Animation Canada opens a 17,000-
\nsquare-foot studio in Vancouver<\/p>\n
MGM<\/p>\n
May, 1997 \u2014 MGM and Bridge Studios jointly open 25,000-square-foot
\nStudio 5\/6 in Vancouver. The BC government invested C$3.5 million.
\nWarner Brothers
\n1988 Warner Roadshow studio opens in Queensland, Australia (76,347
\nsq. ft)<\/p>\n
Fox builds $125M water-tankbased studio in Rosarito Beach, Mexico
\nFox Studios Australia opens in Sydney, valued at $130.5M<\/p>\n
At least 4 of 9 major studios have publicly stated their intention to
\nincrease production abroad; the increased globalization of
\nentertainment companies is likely to stimulate further runaway
\nproduction<\/p>\n
Source: Annual Reports; Variety; Screen Digest; Film Commissions #<\/p>\n
How Large Is The Gap To Be Closed?<\/p>\n
Clearly the U.S. faces major challenges in stemming the tide of
\nrunaway production. The solutions will not be simple because the
\ncauses are several and very complex. However, the cost gap to be
\nclosed to retain production in the U.S. may not be the entire 25%
\nproduction cost disadvantage. Several producers interviewed
\nmentioned that if the budgets for U.S. productions were brought to
\nwithin 10% to 15% of costs in Canada, then they would make the
\nargument to keep that production in the U.S. Producers generally
\nwant to work where they live, and most live in the U.S. production
\nclusters. Furthermore, these clusters contain all the resources
\nrequired, as well as access to financing, development, and distribution
\nresources, which provide a distinct advantage to producers. Obviously,
\ncertain productions cannot afford even a 10% cost disadvantage;
\nrecapturing these productions will be the greatest challenge.
\nIt is important to note that U.S. film and television economic runaway
\nactivity is at a high level, and that large productions are running away.
\nThe significantly lower total production costs achievable abroad are
\ncompelling to producers. The experience that foreign production
\ncrews, actors and directors have gained in filming U.S. runaway
\nproductions represents an ongoing source of advantage that for these
\nproducing locations. Similarly, infrastructure investments abroad
\nrepresent permanent improvements that will continue to draw
\nproductions out of the U.S. Without a meaningful response (or some
\nunforeseen development abroad), production employment
\nopportunities and associated economic benefits will continue to leave
\nthe U.S. at a significant rate.<\/p>\n
================================<\/p>\n
II. EVENTS<\/p>\n
DEAN AND RICHARD<\/p>\n
DEAN AND RICHARD are now playing every third Friday
\nat Culver City Elks 7:30pm-10;30pm,
\n11160 Washington Pl.
\nCulver City, 90232
\n310-839-8891<\/p>\n
————————————-<\/p>\n
LA WINDS JAZZ KATS 584<\/p>\n
NO COVER, NO MINIMUM.
\nEvery 2nd and 4th Tuesday of the month at Viva Cantina
\n7:30-10:00.
\n900 Riverside Drive, Burbank.<\/p>\n
Free parking across the street at Pickwick Bowl.
\nCome hear your favorite charts played the way they
\nshould be.<\/p>\n
We are in the back room called the Trailside Room.<\/p>\n
Come on down. Guaranteed to swing.<\/p>\n
—————————————<\/p>\n
AUDITIONS FOR CALSTATELA SYMPHONY<\/p>\n
Please pass the word that the annual auditions for the CalStateLA
\nSymphony Orchestra\/Olympia Youth Orchestra for the 2016-2017 season
\nwill begin in June through mid August immediately after the season is
\nover.<\/p>\n
Qualified students may submit the form on line at the website
\nhttp:\/\/www.olympiaphil.org<\/p>\n
under “youth orchestra”.<\/p>\n
I will be in touch to set up a time during the summer. The next
\nseason begins late September of this year through early June of 2017.<\/p>\n
The orchestra consists of talented students age 12 through college
\nage. Rehearsals are at CSULA on Sundays at 4:30-7PM. Tuition is $650
\nfor the entire year. Scholarship is available on a need or merit
\nbasis depending on instrument and individual student. The orchestra
\nstudents will also be able to take optional transferable college
\ncredits from CSULA, perform with college music students in 4 on and
\noff campus concerts.<\/p>\n
This is a great orchestra with lots of talented students taking part.
\nI look forward to hearing from students learning all orchestral
\ninstruments.<\/p>\n
Thank you!<\/p>\n
Fung Ho
\nMusic Director & Conductor
\nCalStateLA Symphony Orchestra\/Olympia Youth Orchestra<\/p>\n
——————————————–<\/p>\n
6\/1\/16<\/p>\n
ASMAC FIRST WEDNESDAYS features Jack Smalley<\/p>\n
Wednesday, June 1st 7PM at the AFM Local 47 Auditorium<\/p>\n
Jack Smalley, film and television composer, mentor of mentors
\nand mentor of composing legends will share valuable film and
\ntelevision scoring techniques. Learn more about Jack during
\nan interview by special guest Perry Botkin, Jr.\u00a0 followed by Jack\u2019s in depth demonstration which includes printed scores, study material and audio examples.
\nMORE ABOUT JACK:
\nAfter 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.
\nBack 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.
\nSmalley\u2019s television work included composing for episodes of Streets of San Francisco and Barnaby Jones, and then he joined Jack Elliott\u00a0and Allyn\u00a0Ferguson working on Swat, Love Boat, Starsky and Hutch,\u00a0and five years of Charlie\u2019s 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.
\nProfessor of Film Composition at USC for 20 years, and member of the permanent faculty at the Aspen Summer Music Festival,\u00a0Jack was also on the faculty at the Dick Grove Music Workshop, and headed up \u00a0the composition program at the Henry Mancini Institute.
\nAuthored \u201cComposing Music for Film\u201c, \u201cLyrics Lyrics Lyrics\u201d which are\u00a0both available at jacksmalley.com.\u2028Also authored a biographical book about his first year in France called\u00a0\u201cThe Music Came First\u201d available at Amazon.com<\/p>\n
———————————<\/p>\n
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.
\nIn 1955, he joined the Rock group \u201cThe Cheers\u201d as a singer, trombone player, and arranger. The Cheers had a hit record \u2013 Leiber\/Stoller\u2019s \u201cBlack Denim Trousers and Motorcycle Boots\u201d. 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 \u201cAmerican Song book\u201d world.
\nIn the 70\u2019s and 80\u2019s were movies and TV. \u00a0He won a Grammy for Best Instrumental Arrangement (Nadia\u2019s 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. \u201cSample This\u201d is the title\u2026. It was released in art theaters in New York, Chicago, Los Angeles, and San Francisco. More info at\u00a0perrybotkinmusic.com.<\/p>\n
———————————–<\/p>\n
6\/1\/16<\/p>\n
CONCERTS AT THE “BOWL”<\/p>\n
The Corbin Bowl and San Fernando Valley Symphony Orchestra
\nPresent Concerts at the “Bowl” in the “Corbin Lounge”
\nWednesday Evenings at 7:30 pm<\/p>\n
June \u00a01
\nThe SFVSO Jazz Band
\nPerforms standards from the Great American Songbook, featuring
\nJimi Dee, guitar;\u00a0Ron Singer, saxophone\/flute; Adrian Miller, trumpet\/
\nflugelhorn;\u00a0Larry Muradian, bass and Chuck Burkinshaw, drums<\/p>\n
+++++++++++++++++++++++++++++++<\/p>\n
OTHER CONCERTS IN THE SERIES
\nJune \u00a08
\nThe Symphomaniax
\nPerform music from baroque to contemporary by Bach, Domine, Vivaldi,
\nand others, as well as a selection of “pop” classics, featuring\u00a0James Domine,
\nguitar;\u00a0Ruth Bruegger,\u00a0violin; Glenn Grab,\u00a0‘cello and Larry\u00a0Muradian, bass<\/p>\n
June 15
\nThe Screaming Clams
\nRock ‘n’ Roll with music of the ’60s and\u00a0early\u00a0’70s, featuring
\nJimi Dee, lead quitar and vocals; Joel Domine, keys and guitar;
\nLarry Muradian, bass; Nick Scarmack, drummer and Rebecca Ray,
\nvocalist extraordinaire<\/p>\n
June 22<\/p>\n
The Blues Bandits
\nPlay and sing the “Blues,” featuring\u00a0David Reo, guitar and vocals; Jimi Dee,
\nguitar and vocals; Larry Muradian, bass and Chuck Burkinshaw, drums<\/p>\n
June 29
\nThe Screaming Clams, part 2
\nRock ‘n’ Roll with music of the ’60s and\u00a0early\u00a0’70s, featuring
\nJimi Dee, lead quitar and vocals; Joel Domine, keys and guitar;
\nLarry Muradian, bass; Nick Scarmack, drummer and Rebecca Ray,
\nvocalist extraordinaire<\/p>\n
“Lounge” at the Corbin Bowl
\n19616 Ventura Boulevard, Tarzana<\/p>\n
Free Admission\/ONE Drink Minimum
\nPersons under 21 years of age not admitted<\/p>\n
——————————————<\/p>\n
6\/4\/16<\/p>\n
EDENDALE UP CLOSE CONCERTS<\/p>\n
Info about the next and upcoming programs through the end of 2016
\nat the Edendale Up Close Concerts series:
\nhttp:\/\/edendaleupclose.blogspot.com
\nFree hour long concerts performed by professional musicians
\ntake place 7 times a year at this Saturday noon concert series hosted by the Edendale Branch Library in Echo Park.<\/p>\n
Thank you for your support in publicizing
\nthe Edendale Up Close Concerts!<\/p>\n
Jacqueline Suzuki
\nCurator, Edendale Up Close Concerts
\n818 240 -5108<\/p>\n
On Saturday JUNE 4, 2016 at Noon-1:00pm
\nthe free admission Edendale Up Close Concerts series
\nwill feature the Don Rader Jazz Quartet
\nperforming the American Songbook
\nin the Community Room of the Edendale Branch Library in Echo Park,
\n2011 W. Sunset Boulevard\u2028Los Angeles, CA 90026
\nFree parking in the library lot (enter lot from Alvarado).
\nFor more information call (213) 207-3000
\nWebsite http:\/\/edendaleupclose.blogspot.com<\/p>\n
DON RADER JAZZ QUARTET:\u00a0\u2028The American Songbook\u2028featuring
\nDon Rader\u00a0– trumpet
\nGary Solt\u00a0– guitar
\nDave Parlato\u00a0\u2013 bass
\nTimm Boatman – drums
\nhttp:\/\/allmusic.com\/artist\/don-rader-mn0000191281
\nhttp:\/\/mi.edu\/about-mi\/faculty\/gary-solt\/\u2028http:\/\/markweber.free-jazz.net\/2012\/01\/19\/david-parlato-time-line\/\u2028Interesting interview with Don Rader:
\nhttp:\/\/jazzpro.nationaljazzarchive.org.uk\/interviews\/Don%20Rader.htm<\/p>\n
———————<\/p>\n
6\/5\/16<\/p>\n
CALSTATELA\/OLYMPIA SYMPHONY<\/p>\n
Dear Friends & Colleagues:<\/p>\n
I am pleased to announce that the CalStateLA
\nSymphony Orchestra\/ Olympia Youth Orchestra will
\nbe giving its 2nd annual performance of
\nthis season on Sunday, June 5, 2016 at 3PM at the
\nhistoric San Gabriel Mission Playhouse,
\n320 S Mission Drive, San Gabriel, CA
\n91776.<\/p>\n
This concert is Admission FREE.<\/p>\n
This time, we will be featuring Taiwanese violinist
\nChien-Tang Wang, Gold Medal Prize Winner of the
\n2015 Osaka International Competition in Japan,
\nperforming the Sibelius Violin Concerto. Angela Che
\nand Jeongwon Claire An, the concertmaster and
\nco-concertmaster of the orchestra, will perform the
\nNavarra for 2 violins by Sarasate.
\nA brand new composition by Sharon Hurvitz will be
\nreceiving its world premiere performance, and the
\nTchaikovsky Swan Lake will close the program.<\/p>\n
Please invite your friends and family to come and
\njoin us to witness the talents of these fine young
\nmusicians.<\/p>\n
Looking forward to seeing everyone there.<\/p>\n
Sincerely,
\nFung Ho<\/p>\n
——————————————<\/p>\n
6\/11\/16<\/p>\n
ASMAC Master Class: Telling a Story with Music<\/p>\n
Saturday, June 11th, 2016 11am – 2pm
\nValley College Music Department Recital Hall
\n5800 Fulton Ave.
\nVan Nuys, CA 91401<\/p>\n
Opportunities in Ballet, Opera, Theater and Concert Music
\nThere are many projects that can benefit from your talents
\nand skills.
\nHow to find and pitch a project;
\nHow to get funding and produce.<\/p>\n
Guests will show examples and discuss a variety of
\napproaches and techniques to inspire composers,
\narrangers and orchestrators.<\/p>\n
with<\/p>\n
Jack Van Zandt
\nJeannie Pool
\nRaymond Torres-Santos
\nMarlene Hajdu
\n$25 members (ACF members and NACUSA members included)
\n$40 non-members.<\/p>\n
———————————————<\/p>\n
MASTER IN FLM MUSIC APPLICATIONS STILL BEING ACCEPTED<\/p>\n
The Pacific Northwest Film Scoring Program
\nAt The
\nSeattle Film Institute<\/p>\n
is still accepting applications to the One year<\/p>\n
Master of Music (MM) in Film Composition<\/p>\n
Recently rated as the #4 school for film scoring education
\nin the world by Music School Central and the #2 school
\nfor earning a Masters of Music degree in Film Composition<\/p>\n
Study with program creator and lead instructor<\/p>\n
Hummie Mann<\/p>\n
2 Time Emmy Award Winning film composer of
\n“Robin Hood: Men in Tights” and featured in
\nVariety Magazine’s article “Leaders in Learning”<\/p>\n
Click here to listen and watch student scores from previous years<\/p>\n
Applications are now being accepted for the 2016
\nschool year We offer rolling admissions – applying
\nearly is recommended Scholarship support is
\navailable to early applicants<\/p>\n
================================<\/p>\n
You can read all previous offerings at:http:\/\/www.responsible47.com<\/p>\n
UNTIL NEXT TIME,
\nTHE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47<\/p>\n","protected":false},"excerpt":{"rendered":"
I. FLASHBACK TIME – 2005 – PART VII – CONCLUSION II. EVENTS …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 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-173","post","type-post","status-publish","format-standard","hentry","category-committee-newsletters"],"_links":{"self":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/173","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=173"}],"version-history":[{"count":0,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/173\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=173"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=173"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=173"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}