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Breakthrough collaboration between Bell Media, Music Canada and Re:Sound creates international gold standard with music creators at its heart

 

Toronto, Dec 6, 2017: Advancements in cross-platform reporting have ushered in a new era of cooperation between Canada’s music and media industries. Developed by Bell Media, Music Canada and Re:Sound, the new process aligns terrestrial broadcast data with digital, ensuring all music industry stakeholders are served with efficiency, transparency, and accountability, while setting a new industry standard for data reporting. With this game-changing initiative by Bell Media, the automation of the existing music content distribution tool allows the industry to streamline sound recording data within the Canadian music ecosystem.

The new system is part of an ongoing project to develop administrative efficiencies by Music Canada and Re:Sound. Through consolidating multiple data sets, maximizing the use of ISRC (International Standard Recording Codes), and other improvements, the project has so far resulted in faster payouts and 28% more revenue for major labels and members of CIMA (the Canadian Independent Music Association).

Beginning with a successful pilot program of the new system by Toronto’s 104.5 CHUM FM in early 2017, Bell Media radio stations are now tracking complete sound recording data including ISRC automatically on new tracks from major record labels and independent label partners. With the elimination of manual processes, the new reporting system has resulted in cleaner data, which significantly benefits all rights holders in the Canadian music industry including artists, background musicians, songwriters, and music publishers, through organizations (SOCAN, CMRRA, SODRAC, etc.) relying on broadcast data to get royalties to rights holders.

“I commend Bell Media, and specifically Randy Lennox, for showing remarkable leadership on this project,” says Graham Henderson, President and CEO of Music Canada. “Thanks to this collaboration, achievements in data efficiency from projects completed by the major record companies and Re:Sound will now yield even greater results, generating savings throughout the royalty chain, while resulting in more dollars in the pockets of creators.”

“As someone with love for Canada’s music industry, I am thrilled by the results of this project,” said Randy Lennox, President, Bell Media. “When Music Canada’s Graham Henderson approached us to help resolve what has been a longstanding issue within Canada’s music industry, it was an easy decision to lend Bell Media’s resources and expertise. The automation of the tracking process establishes international best practices that benefit creators while making the entire system considerably more efficient.”

“At Re:Sound, we only exist for the artists and sound recording owners we represent,” says Ian MacKay, President of Re:Sound. “Ensuring that the absolute best quality data flows through the entire music ecosystem is a huge step forward for rights holders, and will help us (and other organizations) to ensure that we pay the right people as quickly and efficiently as possible. We couldn’t have done this without the strong leadership of Bell Media and Music Canada.”

 

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For more information:

Siobhan Özege, Re:Sound
sozege@resound.ca
+1 (416) 968-8870 ext 369

Corey Poole, Music Canada
cpoole@musiccanada.com
+1 (647) 808-7359

Renee Dupuis-Macht, Bell Media
Renee.dupuismacht@bellmedia.ca
+1 (416) 384-3154

 

About Re:Sound
Re:Sound is the Canadian not-for-profit music licensing company dedicated to obtaining fair compensation for artists and record companies for their performance rights.  Re:Sound advocates for music creators, educates music users, licenses businesses and distributes public performance and broadcast royalties to creators – all to help build a thriving and sustainable music industry in Canada. For more on Re:Sound Music Licensing, please visit www.resound.ca

 

About Music Canada
Music Canada is a non-profit trade organization that represents the major record companies in Canada: Sony Music Entertainment Canada, Universal Music Canada and Warner Music Canada. Music Canada also works with some of the leading independent record labels and distributors, recording studios, live music venues, concert promoters, managers and artists in the promotion and development of the music cluster. For more on Music Canada, please visit www.musiccanada.com

 

About Bell Media
Bell Media is Canada’s leading content creation company with premier assets in television, radio, out-of-home advertising, and digital media. Bell Media owns 30 local television stations led by CTV, Canada’s highest-rated television network; 30 specialty channels, including TSN and RDS, and four pay TV services, including The Movie Network and Super Écran. Bell Media is also Canada’s largest radio broadcaster, with 215 music channels including 105 licensed radio stations in 54 markets across the country, all part of the iHeartRadio brand and streaming service. Bell Media owns Astral Out of Home with a network of more than 30,000 advertising faces in British Columbia, Alberta, Ontario, Québec, and Nova Scotia. Bell Media also operates more than 200 websites; delivers TV Everywhere with its CraveTV and GO video streaming services; operates multi-channel network Much Digital Studios; produces live theatrical shows via its partnership with Iconic Entertainment Studios; and owns Dome Productions Inc., a multi-platform production company. Bell Media is part of BCE Inc. (TSX, NYSE: BCE), Canada’s largest communications company. For more on Bell Media, please visit www.bellmedia.ca.

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Applications for the PASSPORT: Music Export Summit are now open

Canadian self-managed artists, artist managers, and music company entrepreneurs active in artist management have until December 15, 2017, to apply for the PASSPORT: Music Export Summit, a new program designed to prepare export-ready artists and entrepreneurs with training in business skills and artistic product development.

The program will begin with parallel East and West summits. The Music Export Summit West will take place in Winnipeg from February 21-25, 2018, and will also include a stream for Indigenous artists and companies. The Music Export Summit East will take place in Halifax from February 28 to March 4, 2018.

The PASSPORT website provides the following training overview:

  1. Importance and value of export for the Canadian music industry
  2. The challenges and opportunities of the global release landscape
  3. Market intelligence and specifics for target markets (UK, EU, USA)
  4. Developing an export marketing plan

Selected participants from these initial sessions will be chosen to attend a follow-up Masterclass event from April 8-12, 2018, at the National Music Centre in Calgary, in which they will conduct follow-ups on their export plans and create media assets for international marketing. The Masterclass will also include streamed live performances.

The eligibility guidelines on the PASSPORT website state that “Submissions will be accepted from export-ready artists and artist managers who are preparing for market development and export activities. Participants will have made initial inroads into international markets or are preparing for their first international showcase festival or tour in the coming 6-18 months. Participants will have taken part in foundational business training through their provincial music industry association, Canada’s Music Incubator, or regional music conferences, and have experience with basic administrative and music marketing tasks.”

The PASSPORT: Music Export Summit is produced by Manitoba Music in partnership with Music Nova ScotiaCanada’s Music Incubator, and the National Music Centre, and the project is funded in part by FACTOR, the Government of Canada and Canada’s private radio broadcasters.

For more information on eligibility, scheduling, and to apply, visit the PASSPORT: Music Export Summit website.

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Music PEI has announced the nominees for the 2018 Music PEI Awards

Earlier this week, Music PEI announced the nominees for the 2018 Music PEI Awards, to be presented during Credit Union Music PEI Week (January 25-28, 2018).

The Music PEI Awards Party, where the majority of the awards will be presented, is taking place Sunday, January 28 at the Rodd Charlottetown Hotel Ballroom (75 Kent St, Charlottetown).

The nominees and other PEI artists will be showcased at multiple events during Credit Union Music PEI Week, including the SOCAN Songwriter of the Year Concert, Music Mosaic and the Closing Concert, as well as events on January 26 and 27 at Baba’s Lounge, Hunter’s Ale House, The Pour House, The Old Triangle, and Fishbones Oyster Bar. Performer details for these events will be announced in December.

“I would encourage everyone to come out to support our local artists as we celebrate their success and achievements,” said Jennifer Campbell, President of Music PEI in a release. “The awards are often an important stepping stone as our artists develop their careers and public support is crucial to that development.”

Prince Edward Island musicians The East Pointers, Ashley Condon, and the duo of Dennis Ellsworth & Kinley Dowling lead this year’s nominees, each with nominations in six categories.

“As we’ve come to expect…the nominees for the 2018 Music PEI Awards include well known Island artists who perform regularly here on Prince Edward Island and many of whom tour the world,” said Doug Bridges, Marketing and Communications Officer with the Provincial Credit Union. “At the same time the nominees include a number of emerging artists, and we look forward to supporting them and watching their careers develop in the years to come.”

About half of the awards are decided by member voting and half are decided by a jury.

Here is the full list of 2018 Music PEI Awards nominees:

Album of the Year
● Catherine MacLellan “If It’s Alright With You – The Songs of Gene MacLellan”
● The East Pointers “What We Leave Behind”
● Dennis Ellsworth & Kinley Dowling “Everyone Needs to Chill Out”
● Liam Corcoran “Nevahland”
● Ashley Condon “Can You Hear Me”

Country Recording of the Year
● Danny Drouin “It’s Been A Long Week”
● Marcella Richard “Marcella Richard Sings Roy MacCaull”
● Small Town Jokurs “Our Little Piece of Heaven”

Female Solo Recording of the Year
● Alicia Toner “I Learned The Hard Way”
● Ashley Condon “Can You Hear Me”
● Catherine MacLellan “If It’s Alright With You – The Songs of Gene MacLellan”
● Marcella Richard “Marcella Richard Sings Roy MacCaull”

Group Recording of the Year
● Amanda Jackson Band “Fire in the Blue”
● Dennis Ellsworth & Kinley Dowling “Everyone Needs to Chill Out”
● The East Pointers “What We Leave Behind”
● Stabbing Joy “Loved It More Than You Could Ever Know”
● Small Town Jokurs “Our Little Piece of Heaven”

New Artist of the Year

● Alicia Toner I Learned The Hard Way
● Dennis Ellsworth & Kinley Dowling Everyone Needs To Chill Out
● Amanda Jackson Band Fire In The Blue
● Aaron Hastelow Aaron Hastelow
● Stabbing Joy Loved It More Than You Could Ever Know

Male Solo Recording of the Year
● Liam Corcoran Nevahland
● Rick Sparkes Dirty, Little Love Songs
● Element & Broadbent Safe Spaces
● Danny Drouin It’s Been a Long Week
● Aaron Hastelow Aaron Hastelow

Pop Recording of the Year
● Aaron Hastelow “Aaron Hastelow”
● Liam Corcoran “Nevahland”
● Stabbing Joy “Loved It More Than You Could Ever Know ”

Urban Recording of the Year
● Amanda Jackson Band “Fire in the Blue”
● Element & Broadbent “Safe Spaces”
● Norm Strangely “Owlephant”

Roots Contemporary Recording of the Year
● Catherine MacLellan If It’s Alright With You – The Songs of Gene MacLellan
● The East Pointers What We Leave Behind
● Ashley Condon Can You Hear Me
● Alicia Toner I Learned The Hard Way
● Dennis Ellsworth & Kinley Dowling Everyone Needs To Chill Out

SOCAN Songwriter of the Year
● Dennis Ellsworth & Kinley Dowling “Panorama High”
● Nick Doneff “Old Dog”
● Ashley Condon “Oh MY Love”
● Alicia Toner “Back to Fine”
● Liam Corcoran “Tick Tock”

Song of the Year
• The East Pointers “Two Weeks”
• Nick Doneff “Old Dog”
• Ashley Condon “Oh My Love”
• Dennis Ellsworth & Kinley Dowling “Panorama High”
• Liam Corcoran “Tick Tock”
• Calm Baretta “Chilly Bones”

Entertainer of the Year (Publicly Voted Award hosted on the Bell Aliant Website)
● The East Pointers
● Dylan Menzie
● Ashley Condon
● Catherine MacLellan
● The Royal North

Event of the Year
● Cavendish Beach Music Festival
● Mont-Carmel Summer Concert Series
● PEI Mutual Festival of Small Halls

Producer of the Year
● Andrew A Melzer
● Jon Matthews
● Brent Chaisson

Touring Artist of the Year
● Catherine MacLellan
● Dylan Menzie
● The East Pointers

Video of the Year
● Alicia Toner “I Learned the Hard Way”
● Nick Doneff “Old Dog”
● Norm Strangely “Autismatic”
● Rick Sparkes “Western Wind”

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The Come Up Show celebrates 10 years with anniversary concert

On Thursday, November 30, The Come Up Show will celebrate their 10th anniversary at Adelaide Hall with a stellar lineup headlined by Toronto R&B singer 11:11, featuring special guests Adria Kain, Kennedy Rd, and Emanuel.

The Come Up Show has supported and promoted Canadian independent hip hop since 2007, when Adulis “Chedo” Mokanan began broadcasting live on 94.9FM CHRW in London, ON.

“When I started The Come Up Show in 2007, it was out of frustration that there was no good hip-hop music being played on the radio in my city,” says Chedo, who is also the former Music Programmer for Toronto’s Manifesto Festival. “As soon as I started the show, I was blown away by the amount of talent I was discovering in the Canadian Indie scene. Who is supporting these artists? What outlets are pushing them? Why is nobody doing anything? Nobody really cared about new Canadian or Indie artists unless you were already established.”

Now based in Toronto, The Come Up Show is a go-to destination for concerts, interviews, and commentary on hip-hop culture in Canada and abroad. A new episode of The Come Up Show podcast is available every Wednesday, which features interviews with some of hip hop’s biggest names and rising stars, including recent guests like Majid Jordan, Wyclef Jean, Clairmont The Second, a l l i e, Khalid and more.

Click here to buy tickets to The Come Up Show’s 10 Year Anniversary concert, and listen to a playlist via Spotify and Apple Music with songs by all the artists below.

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Miranda Mulholland brings crucial message to Ottawa in ‘Redefining Success in a Digital Marketplace’ speech

On Nov. 22, Miranda Mulholland brought an important and timely message to Ottawa as she delivered a keynote speech at the Economic Club of Canada. In addition to her credentials as a talented artist and entrepreneur, Mulholland has emerged as a trailblazer in the global artists’ rights movement: in May, she became the first creator to deliver a keynote address at the Economic Club of Canada, and recently spearheaded a letter co-signed by 100 fellow artists on recommendations for a reformed Copyright Board of Canada.

Mulholland’s keynote topic was “Redefining Success in a Digital Marketplace.” Her speech highlighted the challenges for artists working in today’s digital age and proposed solutions to help create a more balanced music ecosystem in which creators can earn a living.

Mulholland’s speech was followed by a panel discussion with representatives from different cultural industries, who discussed how the digital marketplace has affected their industries and their individual careers. The panel, which was moderated by Vassy Kapelos, Global National’s Ottawa Bureau Chief and host of The West Block, included:

Video of the keynote and panel is now available online, and embedded below. The event was attended by many artists and Ottawa music industry members, as well as MPs Gord Brown, Julie Dabrusin, and Pierre Nantel, who are members of the All Party Music Caucus. A selection of photos and social media posts from event is included at the end of this post.

Mulholland began by observing “an extremely important anniversary in the lives of all creators” – the date the Copyright Modernization Act came into force, just over 5 years ago. Although Mulholland referred to the Act as a “landmark”, she acknowledged that it wasn’t perfect and “probably created as many problems for creators as it solved.” Fortunately, the legislation included a specific provision that mandates a review of the Act, 5 years to the day that it came into force. Unfortunately, that date passed two weeks ago, and creators are still waiting for the review to begin.

“I find this disappointing,” said Mulholland. She then spoke about her path to advocacy, referencing two conversations with Heritage Minister Mélanie Joly, who told her “artists need to speak up” in the government’s “Canadian Content in a Digital World” consultations. Those conversations led directly to the founding of Focus On Creators, a coalition of more than 3,500 Canadian creators asking the government to put creators at the heart of future policy. Speaking of her previous speech at the Economic Club, Mulholland thanked MP Julie Dabrusin for raising some of the issues her keynote addressed in a meeting of the Standing Committee on Canadian Heritage. After noting that she is aware of the government’s increased funding for grants and export, Mulholland reiterated her call for a market that properly values their work: “the main message of creators, and what we’re trying to say, is that we want a functioning marketplace right here at home. We are here, and we’re speaking up. We’d love to be heard.”

After a brief recap of her artistic bona fides – violin training since age 4; studying Opera Performance at Western and McGill Universities; founding a record label and festival; performing as a member of Harrow Fair, Great Lake Swimmers, and performing on hundreds of recordings by artists such as Cowboy Junkies, Donovan Woods and Rose Cousins, as well as film & television work including CBC’s Republic of Doyle and the film Maudie; a member of the Soulpepper Theatre Company and the Board of Governors of Massey/Roy Thomson Hall – Mulholland acknowledged that she has a serious problem: “My problem is that because of this Broken Promise of a Golden Age, I’m barely able to make a living.”

Mulholland explained that when sharing her concerns with policymakers, the response that she is often given “is that creators are asking for the clock to be turned back… but that is not what we want. However, we do need to look back at the policies and promises that were made in the late 90s, and recognize that times have changed. My MySpace page doesn’t work anymore. If anything, we’d like to turn the clock forward and rethink some of these ideas and assumptions that have turned out to be false and predictions that have sadly not come to pass.”

After outlining some of the challenges that today’s artists face, including financial hardship and an increasing number of middlemen involved in distributing her music and collecting revenues, Mulholland pivoted from the solution often offered to creators expressing their concerns (“adapt”) to a key theme of her speech: Accountability.

“Let’s look at the current situation and who is accountable for the devaluation to which we are forced to adapt,” said Mulholland. “Accountability means acknowledging value and compensating for it.”

Mulholland called for accountability from digital services like YouTube, and showed why the often-proposed solution of live touring is not a panacea, or even feasible for many artists. Turning to solutions, Mulholland referred a pamphlet distributed with advocacy infographics, which are available on her website. Explaining that we all have a role to play in improving the music ecosystem, Mulholland identified steps that artists, consumers, industry members, and government can take to help ameliorate the current situation.

Mulholland urged the government to end tech company safe harbours: “The European Commission has now acknowledged that the market isn’t functioning properly, and they have identified and accepted the problem as the unintended Value Gap, and agreed that legal clarification is needed. Can we follow suit?”

She also called on the government to end other industry cross-subsidies, such as the Radio Royalty Exemption, “an industry cross-subsidy given to every commercial radio station in Canada, exempting them from paying more than $100 in royalties to artists and record labels on their first $1.25 million in advertising revenue,” said Mulholland. “The Exemption was introduced as a political compromise in the 1997 amendments to the Copyright Act, but it is now outdated and unjustified – if it ever was justified. It is really not right that artists and labels continue to subsidize these large media companies. I am subsidizing Bell.”

Mulholland then highlighted that due to the definition of sound recordings in the Copyright Act, recorded music is actually not considered a ‘sound recording’ (and thus not entitled to royalties) when it is included in a TV or film soundtrack. “This affects me greatly,” said Mulholland, “because for example, even though I played on almost every episode of CBC’s Republic of Doyle, which is now syndicated worldwide, I only received the one-time union rate I got per session, which was around $280, while the composer collects residuals every time that show airs. 44 countries around the world – the UK, France and Australia among them – afford performers and record labels the right to receive public performance royalties when their sound recordings are used as a part of a soundtrack in TV and film.”

Mulholland closed by stating “a culture of permission-less innovation” is what led to the current situation. With that, she referenced another anniversary – the two hundredth anniversary of Frankenstein. “Mary Shelley wrote this classic after witnessing the disastrous consequences of her industrial revolution,” said Mulholland. “The moral of her story is that monsters are created when the only question being asked is ‘Can I?’

We know what’s it has done to the livelihood of creators – it’s produced the Value Gap, and that is our monster.”

 

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JUNO Awards announces Michael Bublé as 2018 host in Vancouver

Diamond-certified crooner Michael Bublé has been announced as the host for the 47th annual JUNO Awards, which will broadcast live on CBC from the Rogers Arena in Vancouver, BC, on Sunday, March 25, 2018.

“I’m so grateful for the opportunity to host such an iconic night in Canadian music,” said Bublé, a 12-time JUNO Award winner. “To be able to host the JUNO Awards in my hometown is both an honour and a privilege.”

The JUNO Awards broadcast will be the grand finale of JUNO Week in Vancouver, which kicks off March 19. This will be the first time Vancouver has hosted the JUNO celebrations since 2009, which resulted in an economic impact of over $12 million. Additional details regarding JUNO Week and The JUNO Awards broadcast will be announced in the coming months.

Through a continued partnership with Plus 1, $1 from every JUNOs ticket will be donated to MusiCounts, helping to ensure that children and youth across Canada have access to musical instruments. The JUNO Awards also announced a renewed collaboration with TD Bank Group, who will be increasing their support to MusiCounts with a contribution of $1.875 million over the next three years.

Tickets for The 2018 JUNO Awards will go on sale Friday, November 24 at 10 a.m. PT.

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Amazon launches Prime Music streaming service in Canada

Canadian Amazon Prime customers can now enjoy the company’s on-demand music streaming service Prime Music, which launched today in Canada with over one million songs, hundreds of curated playlists, and personalized stations. The ad-free service is now available to Prime customers at no additional cost to their annual membership.

“Music plays such an important role in our customers’ lives, and we’re excited to provide an even better Prime experience for Canada with the launch of Prime Music,” said Mike Strauch, Country Manager for Amazon Canada.

To celebrate their expansion, Amazon Music has created several  “Made In Canada” playlists across genres and eras like PopRock and Alternative, Classic RockSinger-Songwriters, and 90s Alternative.

Other Canadian-only playlists include Classic Quebec Country, Chanteuses Québécoises, 60s Quebec, and Celtic Canada.

Prime Music can be accessed through the Amazon Music app on iPads, iPhones, Android devices, laptops or online at www.amazon.ca/primemusic. Mobile listeners can also save music for offline playback on their mobile device when they don’t have an internet connection.

In addition to Prime Music, the Amazon Echo is also now available for pre-order in Canada, which will be made available on December 5, 2017. The voice-activated Dolby speaker system will pair with Amazon Music, Spotify, Radioplayer, TuneIn, and more, providing a seamless, hands-free music experience.

Eligible customers who are not already Prime members can try Prime Music with a 30-day free trial.

 

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Making the most of Toronto’s UNESCO Designation

Toronto joined an exclusive club made up of 180 cities worldwide last week when the City of Toronto and the Canadian Commission for UNESCO (United Nations Educational, Scientific and Cultural Organization) announced that Toronto has been designated a UNESCO Creative City of Media Arts. While there may not have been much media coverage of the pronouncement, the city’s creative industries ought to be paying attention.

This makes Toronto one of the first cities in Canada to join the network, which was started in 2004 and includes designations for Media Arts, Music, Film, Gastronomy, Literature, Design and Crafts and Folk Art.  Toronto’s designation of Media Arts is an attempt to capture the city’s achievements in not one, but several disciplines: “film, music, digital media and forms of cultural expression using technology”.

Few people in Canada may be familiar with UNESCO’s Creative City Network and are perhaps more familiar with its historical site designations or research.  This is not a surprise as North America has been relatively slower to join this party.  In fact, despite much attention given to Music Cities in North America, including many cities that build their brand on the artform, the first UNESCO City of Music in North America (Kansas City) has only just now been designated.

The international recognition of Toronto’s creative sector efforts is cause for celebration.  However, the designation should not be seen as the finish line, but as a springboard for further action. Based on our worldwide scan of Music City strategies, it is clear that the UNESCO designation has the potential of falling into the category of a public relations exercise.  But only if we let it.

In some cities, the designation has mobilized a comprehensive program for the promotion, protection and growth of the creative industry for which it is earned.  The UNESCO designation has, in other cases, ensured sustained political leadership on creative industry development and investment.  The network itself has afforded some cities with practical sharing of knowledge and best practices.

Toronto’s entire music community – including artists and industry – has an opportunity to make sure that the UNESCO designation has meaning.  We can leverage the UNESCO designation to secure an ongoing commitment to our music strategy and key priorities like venue sustainability, regulatory red tape reduction, livability for artists and musicians and access to spaces and places for the creation, rehearsal and production of music.  We can also use it to reinforce music’s equal standing alongside our partners in film and digital media.

UNESCO’s Creative City Network is definitely what we make it.   Let’s take ownership of this opportunity, and prove what we already know: Toronto can be the greatest Music City in the world.  We define it, and now we have another tool to help us build it.

 

UNESCO’s Creative Cities Network promotes cooperation between global cities that place creativity and cultural industries at the heart of their development plans.

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Miranda Mulholland and 100 fellow creators call for real and meaningful reform to the Copyright Board of Canada

In August of 2017, Canada’s Innovation, Science and Economic Development Minister, Navdeep Bains, in conjunction with Mélanie Joly, Minister of Canadian Heritage, announced the launch of consultations on reforming the Copyright Board of Canada. According to the government’s release, the goal of Copyright Board reform is to “enable creators to get paid properly and on time.”

Miranda Mulholland is a violinist, singer, label owner, and the recipient of Music Canada’s inaugural Artist Advocate Award for her outstanding achievements in advocating for the rights and livelihoods of music creators. One of those achievements is becoming the first creator to deliver a keynote address to the Economic Club of Canada. Another is rallying her fellow musicians on the importance of reforming the Copyright Board and her submission of two letters to the Canadian government.

The first letter was submitted on behalf of “Canadian musicians, independent label owners and creative entrepreneurs – at all stages of their careers” 100 of whom added their names. The letter states “While only part of our income comes from royalties collected by collective societies, the rates set by the Board directly impact the value of our music, and our ability to earn a living from it.” The letter specifically supports three options outlined in the consultation’s Discussion Paper and points out that while the role of the Board has evolved, “at the end of the day, the Board is valuing our work, and setting rates that affect our livelihoods.”

The second letter was submitted to Prime Minister Justin Trudeau, and in addition to the list of supporting names, is signed directly by Mulholland, Jim Cuddy, Alan Doyle and Joel Plaskett. It stresses the need for real and meaningful change at the Board, calling for tariffs to be set faster and more in line with market values, and also thanks the government for embarking on the long overdue reform process.

You can read Miranda’s letters below, which are also available on the advocacy section of her website.

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Arcade Fire ‘infinitely content’ with latest Canadian Platinum plaques

Photo credit: Sony Music Canada

Montreal-based indie rockers Arcade Fire closed the North American leg of Infinite Content tour, which found the band perform in-the-round at more than two dozen arenas across the continent, with two shows last weekend at Toronto’s Air Canada Centre. Prior to the shows, the band were surprised with Platinum award plaques for their fifth studio album, Everything Now, by Sony Music Canada.

Everything Now is the bands fourth Canadian Platinum certification, joining their landmark 2003 debut Funeral, 2010’s Double Platinum album The Suburbs, and 2013’s Triple Platinum two-disc set Reflektor. 

The video for the album’s title track can be viewed below.

 

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