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Industry News (276)

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Miranda Mulholland named runner-up for the Globe and Mail’s Canadian Artist of 2019

Music Canada extends our congratulations to Miranda Mulholland on being named a runner-up for The Globe and Mail’s Canadian artist of 2019!

In the article, John Doyle highlights Mulholland’s acclaimed solo album, By Appointment or Chance; the continued growth of the Muskoka Music Festival, which Muholland founded in 2017; and the galvanizing artist advocacy work she has conducted as examples of why Miranda was one of the most exciting Canadian artists of 2019.

In 2019, Mulholland was named a Global IP Champion by the Global IP Center, and spoke about artist advocacy at events in Canada and around the world, including the Folk Alliance International conference in Montreal, the World Intellectual Property Organization’s Standing Committee on Copyright and Related Rights in Geneva, at Midem and the MaMa Festival and Convention in France, and Canadian Music Week in Toronto.

The Globe named literary icon Margaret Atwood the Canadian Artist of 2019, recognizing the success of her highly anticipated book The Testaments, the success of the television adaptation of her classic novel, The Handmaid’s Tale, and Atwood’s book tour and philanthropic endeavors amidst a time of great personal loss following the passing of long-time partner Graeme Gibson. 

Joining Mulholland as runners-up for the Globe’s recognition include actor and director Philip Akin, film performer, writer, and director Deragh Campbell, artist and sculptor Brian Jungen, and masked country musician Orville Peck. 

Congratulations, Miranda! We are proud and grateful to have such a talented artist and strong advocate for creators as Chair of the Music Canada Advisory Council.

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Music Canada proud to serve as partner for APTN’s landmark National Indigenous Music Impact Study

On November 13th, 2019, APTN published the first-ever National Indigenous Music Impact Study. This landmark report demonstrates the contributions made by the Indigenous music community to the wider music industry, as well as to the overall Canadian economy. 

“We set out to gain a better understanding of this group of professionals, and what we found is that this industry has a significant impact on the economic and social fabric of Canada,” said Jean La Rose, CEO of APTN, in the news release. “However, the industry also faces challenges, which creates many opportunities for growth. We see this study as a starting point for in-depth and informed discussions that will help the industry reach its full potential.”

“Music Canada was proud to partner with APTN on this study, which highlights the important impact Indigenous artists have on the music ecosystem,” said Graham Henderson, President and CEO of Music Canada. “As the first comprehensive study of the Indigenous music industry in Canada to date, this report is contributing to a better understanding of the Indigenous music community’s impact from an economic, social, and cultural perspective.”

The study surveyed 620 respondents from the Indigenous music community in Canada and produced key findings, including the following:

  • Indigenous music contributed a total of almost $78 million to Canada’s economy (GDP) in 2018. 
  • Indigenous music also supports more than 3,000 full time positions across Canada.
  • Annually, Indigenous musicians (including both full time and part-time artists) earn an average of $47,200 from all sources. However – like many other musicians – almost half of income earned by Indigenous artists is derived from non-music work. 
  • Companies in the Indigenous music community reported that almost half (47%) of their activities last year were related to developing Indigenous music. These activities incurred $17.5 million in expenditures directly related to music by Indigenous artists.

Notably, the study found that there is no agreed-upon definition of Indigenous music. It cannot be constrained into a single genre, as the Indigenous music community today is characterized by an immense diversity of styles and experiences.

The report concludes that the Indigenous music community is vibrant and thriving. However, the Indigenous music industry (made up of Indigenous-owned, Indigenous-directed music companies and supporting organizations) is still early in its development process – and is in need of support to achieve robust growth.

To read the full National Indigenous Music Impact Study, download the report from APTN’s website.

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Cowboy Junkies’ Margo Timmins calls out sexism in the music industry at Canadian Music Hall of Fame Ceremony

At the inaugural Canadian Music Hall of Fame Ceremony Presented by Music Canada, which took place at the National Music Centre on October 27th, legendary alternative country group Cowboy Junkies were one of four inductees into the Hall of Fame. 

In her acceptance speech, Cowboy Junkies’  lead vocalist Margo Timmins used the band’s moment of celebration to put a spotlight on the issue of sexism in the music industry, and issue a call for change. 

“I know we would all like to think that a boys’ club does not exist in our industry, but just look around you,” said Timmins. “Even tonight, there are 10 inductees, and one woman. And with my count, after tonight, there will be around 100 men and 10 women in the Hall of Fame. That’s not right.”

Timmins took the opportunity to encourage those in attendance, many of whom are leaders in the Canadian music industry, to take action to correct this long-standing imbalance

“I know that there are many men and women in our industry who struggle every day to create change, and to you I give you my respect and my support,” continued Timmins. “But there are also many women and men who think that with time, things will become equal and all will be well eventually. And perhaps they’re right. But what I say to that is, if you are thinking in this way, you have to remember, as we wait, the next generation of talented and creative women will be asked or allowed to join our industry by going through the side door — the way that women have entered the world of men for centuries, and it’s just wrong. So all I ask is that you people who are here, who are so powerful, you lead our industry, to think about it. And that somehow we have to bring in more women. Allow our daughters to know that if they want to be riggers, sound engineers, lighting techs, they can do it and they can join us on the road.”

Watch Cowboy Junkies’ Margo Timmins powerful acceptance speech at the Canadian Music Hall of Fame Induction Ceremony.

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Music Canada and Member Labels Announce MusiCounts Scholarship in honour of Deane Cameron

Earlier this year, the music industry lost Deane Cameron, former President of EMI Music Canada and a true changemaker who had an indelible effect on our industry. In memory of Deane, Music Canada, with the support of our member labels Warner, Sony, and Universal, is proud to announce a new MusiCounts scholarship in his honour. 

The scholarship will give aspiring professionals the connections, skills, and resources needed to jump start their career in music. The Scholarship is intended for young professionals who are completing post-secondary studies in the areas of music performance, music business, or music production, and who plan to enter the workforce within the next 12 months. 

The announcement was made today at Music Canada’s 2019 Symposium, by Steve Kane, President of Warner Music Canada, and Jeffrey Remedios, President of Universal Music Canada. Shane Carter, President of Sony Music Canada, would also have been part of the announcement, but was unable to attend due to travel. 

Reflecting Deane’s long standing support for Indigenous communities and programs, $15,000 has been pledged to the MusiCounts Scholarship Program, which will ensure that two to three Indigenous youth will receive a MusiCounts Scholarship in 2020. MusiCounts’ new partnership with Indspire will allow MusiCounts to identify Indigenous youth in Canada who will benefit most from this unique scholarship program. 

“Deane Cameron was a titan of our industry – a passionate and proud supporter of Canadian music, a staunch advocate for creators, and an inspirational leader,” says Graham Henderson, President and CEO of Music Canada. “He was a mentor for so many in the music business, and an esteemed member of our board for 24 years. Through the support of our members – Sony, Universal, and Warner – we honour his enduring legacy though this scholarship.”

For full details on MusiCounts’ Scholarship programs, visit https://musicounts.ca/programs-overview/scholarships/.

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Susan Marjetti recognized with Music Canada’s President’s Award

Music Canada is proud to present Susan Marjetti, Executive Director of CBC Radio and Audio, with the Music Canada President’s Award. This award is given to an individual outside the confines of the recorded music label community who has exhibited a deep passion for music, and who has had an enduring impact on the wider industry.

Marjetti’s role at CBC includes oversight of CBC Music, CBC Talk, CBC Podcasts, and most recently, the new CBC Listen, which is a consolidated digital audio offering that includes all of CBC’s audio content from music playlists to podcasts. All of these platforms are doing incredible work to amplify the talent of great Canadian artists.

She has spent nearly four decades working in radio stations, from small to complex organizations, in various parts of Canada. Prior to taking over the reins at the network, Susan managed CBC Toronto and the Ontario region where she, and her team, worked to make the public broadcaster more relevant to these fast-paced cities, and an ever-changing province.

“I’m deeply touched by this recognition. Like all of you, music has been such a big part of my life,” says Susan Marjetti. “Music has the power to connect us. To reflect us. To engage and entertain us. It matters deeply. And Canada just wouldn’t be the same without our music and the people who make it. At CBC Music, we aspire to celebrate and honour that every day.”

Susan’s leadership in diversity and inclusion has also been recognized numerous times, including recognition with a Harry Jerome Award, Ryerson’s Wall of Fame, and the Rosalie Award.

The award was presented today at Music Canada’s 2019 Symposium. Marjetti is the fourth recipient of the Music Canada’s President’s Award; previous recipients include Mark Garner, Cory Crossman and Chris Campbell, and Josh Colle.

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Music Canada welcomes Farah Mohamed to its Board of Directors

Music Canada is proud to announce that Farah Mohamed has been elected an independent Director to the organization’s Board, effective immediately. Mohamed, who also serves as the Senior Vice President, Strategic Initiatives, Policy & Public Affairs of the Toronto Region Board of Trade, brings a wealth of experience and insight to our organization. 

A social profit entrepreneur, Farah has worked tirelessly to engage the private sector, and government leaders, in a way that makes economic sense, to better address some of the most pressing issues facing our generation. 

In her prior role as the CEO of the Malala Fund, Farah advocated for resources and policy changes needed to give all girls a secondary education, investing in developing country educators and activists, and amplifying the voices of girls fighting for change. The fund invests in the future of girls and women with more than $8.6 million towards girls’ education programmes.

And as the founder of G(irls)20, Farah structured the globally active social enterprise in a manner similar to the G20, putting girls and women at the very heart of the organization and its advocacy.  G(irls)20 cultivates a new generation of female leaders through education, entrepreneurship and global experiences. It and its young female delegates provide advice to G20 Leaders on how to increase female labour force participation and how to economically engage girls and women to reach growth targets and through a new program, Canadian girls are trained, mentored, matched and place on a not for profit board.

As well, Farah was recruited by Canadian businesswoman and former MP Belinda Stronach to establish The Belinda Stronach Foundation (TBSF). Under Farah’s leadership, TBSF created and launched the Foundation’s flagship programs, including One Laptop Per Child for Aboriginal youth. She also oversaw the Foundation’s work in Liberia and a $1M humanitarian relief effort in Haiti after the 2010 earthquake.

Of Indian heritage, Farah was born and raised in Uganda before her family was uprooted and sought refuge in Canada. Her upbringing instilled her with a strong work ethic and keen sense of curiosity, which eventually culminated in her working in politics. For 10 years, Farah worked closely with some of Canada’s most senior politicians including Paddy Torsney and Anne McLellan. Post politics, Farah served as Vice President, Public Affairs and Community Engagement for VON Canada where she was successful in building government and private sector partnerships.

“Music Canada has an important role to play in representing an industry that plays a part in most, if not all, Canadian’s lives. As an independent Director to Music Canada’s Board, I look forward to supporting their mandate as an agent of change and a thought leader within the music community. I’m excited to to be able to work to engage all players across the music industry, from the private sector to government leaders, so that artists from coast to coast to coast and the industry is strong and vibrant for decades to come.” said Farah Mohamed.

“With today’s election of Farah Mohamed, the Music Canada Board gains incredible expertise in strategic partnerships, global to local government relations, and devising and executing innovative approaches to problem solving,” says Graham Henderson, President & CEO of Music Canada. “Farah’s election, together with last April’s election of independent Board Chair Jennifer Sloan, brings new insights and acumen to Music Canada’s Board – further elevating our organization.”

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Gil Moore presented with Music Canada’s Artist Advocate Award

Music Canada is honoured to present Gil Moore, founding member of the multi-Platinum-certified band Triumph, and owner of the renowned Metalworks Studios in Mississauga, Ontario, as the recipient of the 2019 Artist Advocate Award. The award recognizes musicians and songwriters for their outstanding advocacy efforts to improve the livelihoods of music creators. The Mississauga-based musician has been active in the Canadian music industry for more than 40 years, with advocacy being a consistent theme throughout his career. 

Moore has long been a champion for policies to help support music creators and to improve the music ecosystem. He was an active voice for copyright reform as a board member of Balanced Copyright for Canada, a coalition of content creators, artists, and rights holders, and people who work in the creative industries, which advocated for copyright legislation that effectively protects artists and creators, later passed within the Copyright Modernization Act

Moore shared his passion for creators’ rights with his students at Metalworks Institute, and has invited Music Canada in to present town hall sessions on topics such as the Copyright Board. He also opened the warehouse of Metalworks Production Group for tours, allowing Music Canada to showcase the skilled workers and economic impact of the live music sector to policymakers in advocating for the Ontario Music Fund. 

“I’m very proud to receive this award today,” says Gil Moore. “But awards are not the reason I became an artist advocate – I am an advocate for music because I have seen firsthand how it can change lives. I’ve seen that in my own career as a performer, I’ve seen it with fans who are so passionate about the artists they love, and I’ve seen it with our students at Metalworks, who get into this business and invest in their careers because they love music and they are driven to succeed in this industry. I’ve also seen the way that music can empower a community, create jobs, and drive economic growth – and that is worth advocating for. Thank you to Graham and Music Canada for this recognition, and your continued efforts to grow the music sector.” 

Moore has also been active in advocacy as the Vice President of the Canadian Association for the Advancement of Music & the Arts (CAAMA). He served previously as an Executive Board member of the Toronto Musician’s Association and also as a Vice President of The Canadian Academy of Recording Arts and Sciences (CARAS). 

Gil was an inaugural inductee of the Mississauga Music Walk of Fame for his personal involvement in and contributions to the community. Over the past few years, along with the other members of Triumph, Gil has been inducted into the Canadian Music Hall of Fame, Mississauga’s Legend’s Row, the Canadian Music & Broadcast Industry Hall of Fame and the City of Mississauga named a street in the band’s honour, Triumph Lane. His passion for Metalworks and the music industry is boundless; he devotes much of his time to researching trends in music education and technology.

“Gil Moore has put Mississauga’s music scene on the map. We are eternally grateful for his efforts and pride he has brought to our City,” said Mississauga Mayor Bonnie Crombie. “Gil consistently champions the power of music for job creation and growth, and as a member of our Economic Development Advisory Board, he has been instrumental in the creation of the first full-time music industry position at City Hall focused on music sector development. He possesses an encyclopedic knowledge of local music history, which he urges us all to recognize, preserve and celebrate. Because of his passion for music education and the founding of Metalworks Institute, Mississauga produces some of the world’s top musicians, sound technicians, and event experts. We are proud and lucky to have Gil in Mississauga.”

The award was presented today at Music Canada’s 2019 Symposium, taking place at the Great Hall in Toronto. Moore becomes the third recipient of the Artist Advocate Award; previous recipients include Loreena McKennitt and Miranda Mulholland

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Mind the (Value) Gap – Miranda Mulholland and Music Canada’s Graham Henderson appear on the Musonomics podcast

On the latest episode of the popular podcast Musonomics, Music Canada President and CEO Graham Henderson, along with Miranda Mulholland, artist, label owner, festival founder and Chair of Music Canada’s Advisory Council, spoke with host Larry Miller about some of the major issues affecting the music industry today.

Musonomics is a twice-monthly podcast about the business of the music and culture industries. Hosted by Larry Miller and produced with support from the NYU Steinhardt Music Business Program, the program uses data, music and interviews with newsmakers and analysts to provide insight into what’s happening now — and what’s coming next in the world of music and beyond. 

In the podcast, Miller explores data contained in IFPI’s recent ‘Music Listening 2019’ report, which provides a comprehensive overview of music consumption trends from around the world. As Miller notes, global music listening continues to rise, with respondents reporting their listening habits being up to 18 hours per week. Engagement with audio streaming services also remains strong, with 64% of all respondents using a streaming service in the past month. 

Troublingly, the report also highlights the growing scale of listening via user-upload services – the greatest contributor to the Value Gap. Indeed, 77% of respondents reported using YouTube for music listening in the last music; globally, on-demand consumption via video streaming totalled 47%, dwarfing paid and ad-supported audio streaming services. The episode, entitled Mind the (Value) Gap, explores this very issue – a phenomenon that IFPI has called the biggest threat to the future sustainability of the music industry. 

During the episode, Henderson touches on the origin of the issue, describing the Value Gap as the result of a failure of legislation to keep pace with the changes in technology. The impact of this phenomenon has created a widening gulf between the growing revenues that platforms and user-upload services like YouTube gain from the existence of music on their services, and the value returned to the artists and labels who created and developed this creative content.

Henderson also outlines how outdated exemptions such as broad safe-harbour laws have prevented copyright creators and owners from being able to ensure that their work is not being commercialized without their consent by digital and online services. Indeed, as Mulholland vividly describes during the episode, no group has been as adversely affected by the Value Gap as artists.

Mulholland goes on to speak about the realities of working as an artist working within a framework where it is almost impossible to obtain fair remuneration for the monetization of one’s work on online platforms such as YouTube. She outlines how exemptions within Canadian copyright legislation has created this system: where musicians are effectively subsidizing technology companies, while – at the same time – receiving royalty payouts that are too meagre to subsist on alone.

To hear the rest of this fascinating discussion, you can find the episode on Apple Podcasts, SoundCloud, and other major podcasting services. 

Larry Miller will also be delivering a keynote address at Music Canada’s 2019 Symposium, taking place on Wednesday October 23rd. In his address, Miller will share insights from his 2019 report, Same Heart. New Beat. How Record Labels Amplify Talent in the Modern Music Marketplace, which examines the partnerships between record companies and artists. In particular, it outlines the evolution of label efforts to discover and market musical artists; how marketing plans differ and enhance opportunities for artists in a streaming world; the increasing role of data in label strategies; approaches undertaken by labels to build artist branding, and more. Miller will also reconnect with Mulholland and Henderson in a fireside chat following his keynote. 

 

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SHAED receive first Canadian Gold plaque in Toronto

Photo Credit: Universal Music Canada

Prior to their highly anticipated show at Toronto’s Velvet Underground, American electro-pop trio SHAED were presented with a Canadian Gold Single Award plaque by Universal Music Canada for their breakthrough hit “Trampoline.” Initially released in 2018, the song has since been re-released in 2019 with vocals from Multi-Platinum artist ZAYN.

Watch the music video for “Trampoline” below.

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New Noise Bylaw illustrates City of Toronto’s commitment to supporting a vibrant music ecosystem through clear, objective standards

New bylaw procedures have been implemented by the City of Toronto to provide clearer standards regarding noise in the city. Bylaw amendments include a number of changes relating to amplified sound’ that have positive implications for the live music ecosystem, and provide clearer communication from the City to venue owners. These substantial amendments flow from an extensive research and consultation process led by the City of Toronto’s Municipal Licensing and Standards (MLS).

Music Canada applauds the City’s amendments to the bylaw, which signify a positive step forward, and demonstrate that the music community was a meaningful stakeholder in the deliberation process. As described in our groundbreaking report The Mastering of a Music City, it is critical for cities to implement measures that support the growth of a robust music economy. 

These amendments better recognize the crucial role the live music sector plays in making Toronto a vibrant and inclusive Music City. They also demonstrate the value the City sees in the live music industry, its impact on our local economy, and what it means for the improved quality of life for those living in Toronto and the surrounding area. In addition to the elimination of the old Noise Bylaw’s ‘general prohibition’ (which stated that “no one shall produce noise that disturbs anyone else, day or night”), the updated policies contain new musician-friendly standards including:

  • Quantitative decibel limits for amplified sound, giving venues a clear, objective standard against which to measure and manage their operations
  • An adjustment to point of measurement for decimal levels, which will now be measured from the point of reception (where the noise is heard) instead of the property line of the sound source (music venue, festival site, etc.). 

Policy-makers heard from a wide range of groups, including venue owners, festival operators, artists, residents’ associations, businesses, public health authorities, and other interested stakeholders. The Toronto Music Advisory Council (TMAC) – of which Music Canada was a core member – also played an important role in the process, providing critical input and recommendations regarding the reform of various noise-related regulations. 

“These changes signal the City’s growing recognition of our businesses and organizations – who add significantly to the heart beat of Toronto,” said Erin Benjamin, President & CEO of the Canadian Live Music Association. “Live music venues and events are significant economic and cultural assets. They animate neighbourhoods, enhance benefit to local businesses, create jobs and attract tourists. We expect the new noise bylaw to be clearer in terms of interpretation and application.”

These bylaw amendments were first approved by City Council in April, but the policy changes came into effect on October 1. To learn more about the City of Toronto’s new Noise Bylaw, visit https://www.toronto.ca/city-government/public-notices-bylaws/bylaw-enforcement/noise/.

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