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MusiCounts Band Aid Program applications now open

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The MusiCounts Band Aid Program is now accepting applications from Canadian schools whose music programs are in need of instruments. Canadian elementary, junior high, secondary, and separate schools can apply to receive up to $10,000 worth of instruments to ensure their program’s sustained growth. Whether your school offers concert or jazz bands, rock band programs or anything in between, this grant supports diverse music programs across Canada.

Schools that apply by the early application deadline of October 16, 2017 will receive a SHURE MV5 USB microphone (while supplies last, approximately $100 value). Submissions will officially close on November 20, 2017.

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Lido Pimienta wins 2017 Polaris Music Prize

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Lido Pimienta accepting the 2017 Polaris Music Prize in Toronto

Colombian-Canadian artist Lido Pimienta was awarded the 2017 Polaris Music Prize Monday night in Toronto for her politically-charged and independently released album, La Papessa.

Determined by a Grand Jury of 11 music media professionals, the $50,000 Polaris Prize is awarded to the best Canadian album of the year “judged solely on artistic merit without regard to genre, sales history or label affiliation.” $3,000 will be awarded to the nine Short List nominees.

Accepting the award from 2016 winner Kaytranda, Pimienta was joined on The Carlu stage by her son and mother, noting the struggles her family’s endured and overcome as immigrants to Canada. Pimienta thanked the Cree, Anishinaabe, and Haudenosaunee Indigenous groups, and “all the single mothers out there who inspire me.”

The evening was live streamed by CBC Music, and also featured performances from Feist, Lisa Leblanc, Tanya Tagaq, Leif Vollebekk, and Weaves. Lido Pimienta’s performance of “La Capacidad” from the winning album La Papessa can be viewed below.

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IFPI’s 2017 Connecting With Music report includes Canadian insights

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Today, IFPI released Connecting With Music, its 2017 consumer insight report with information from 13 of the world’s leading music markets. The report was created with data commissioned from Ipsos Connect, and provides a snapshot of the way music fans around the globe are engaging with recorded music.

In 2017, Canada became the sixth largest recorded music market in the world, surpassing Australia, and Connecting With Music offers insight on how Canadian music fans’ listening habits compare with other markets and global figures.

Global trends highlighted in the report include:

Young people are highly engaged with licensed music, especially streaming

Globally, 85% of 13-15-year-olds are streaming music. In Canada, streaming is even more popular among young people, with 89% of 13-15-year-olds reporting streaming music via both audio and video services. 99% of Canadians aged 16-24 identified as licensed music consumers, similar to the global average of 98%.

Music fans engage with licensed music in multiple ways

In Canada, music fans on average access four different licensed ways of listening to music, which is the same as the global average. The four consumption models are: purchase of physical product or paid downloads, audio streaming services for music, video streaming services for music, and listening to music on broadcast or internet radio.

Almost all Canadian internet users (99%) reported listening to licensed music, which is slightly higher than the global average of 96%.

Generally, Canadians are a little less engaged in licensed audio streaming (39%) than the average of global music fans (45%), and 46% of Canadians reported having paid for music in the last six months, compared to 50% globally.

Listening via smartphones is increasing

Overall, Canadians are using smartphones to listen to music a little less than the global average. Globally, 90% of paid audio streamers are using a smartphone to listen, compared to 81% of Canadian respondents. That gap reduces when considering the listening habits of 16-24-year-olds, 84% of which listen via smartphones globally, compared to 81% of Canadians in the same age bracket.

Despite high engagement with licensed music, piracy is still a significant concern

While the percentage of Canadians accessing unlicensed music (33%) was lower than the global average (40%), piracy remains a significant concern in Canada, with 27% of Canadians reporting stream ripping versus the global average of 35%.

Stream ripping is considerably more prevalent among young people, with 43% of Canadians aged 16-24 reporting stream ripping, and a global average of 53% in the same age bracket.

Of those who reported downloading unlicensed music, 54% of global respondents reported also using Google to find it. That figure for Canadian respondents is 46%.

The Value Gap remains an issue

Though video streaming services like YouTube are the most popular form of on-demand music streaming, the revenue returned to music creators from plays on these services is much lower than other licensed music services. 86% of Canadian YouTube users, and 85% of global users reported using the service for music in the past month, translating globally to 1.3 billion users.

One quarter of Canadians surveyed said that they do not pay for a streaming subscription because “anything I want to listen to is on YouTube,” confirming that the Value Gap is very much an issue here in Canada.

 

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World’s largest music stream ripping website to cease operations globally following legal action

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IFPI, in conjunction with the RIAA and BPI, announced today that following successful legal action from record companies in the United Kingdom and the United States, the world’s largest music stream ripping website will shut down.

YouTube-mp3.org, a Germany-based site with 60 million visitors a month, facilitated the ripping of downloadable music files from online audio-visual works. Sites like YouTube-mp3.org typically extract large profits from advertising while delivering nothing to music makers. IFPI estimates the site generated “hundreds of thousands of dollars in advertising revenue per month, often from major brands.” In addition to agreeing to cease operations, the site’s operator has agreed to not infringe the rights of artists and labels in the future.

“The largest site dedicated to the fastest growing form of music piracy is shutting down. This is welcome news for music creators and the fans that support them,” says Graham Henderson, President and CEO of Music Canada. “Artists and advocates around the world are fighting for a better future for creators. As we continue to work with governments and legitimate music services to build a functioning ecosystem, it’s important that flagrant violations like stream ripping be met with firm action.”

In a joint release issued by IFPI, the RIAA and BPI, industry leaders welcomed the news:

“Stream ripping sites blatantly infringe the rights of record companies and artists,” said IFPI Chief Executive Frances Moore. “Today, music companies and licensed digital services work together to offer fans more options than ever before to listen to music legally, when and where they want to do so – hundreds of services with over 40 million tracks – all while compensating artists and labels. Stream ripping sites should not be allowed to jeopardise this and we will continue to take action against these sites.”

“This is a significant win for millions of music fans, as well as music creators and legitimate music services,” said Cary Sherman, Chairman and CEO, RIAA. “One of the world’s most egregious stream ripping sites has shuttered. Sites like these undermine the health of the legitimate marketplace and the livelihoods of millions of music creators worldwide. The swift and successful conclusion of this case should send an unmistakable signal to the operators of similar sites.” 

“This illegal site wasn’t just ripping streams, it was ripping off artists,” said Geoff Taylor, Chief Executive BPI. “Most fans understand that getting music from a genuine site supports the artists they love and allows labels to nurture the next generation of talent.  Music stands on the cusp of an exciting future in the streaming age, but only if we take resolute action against illegal businesses that try to siphon away its value.”

Piracy, and particularly stream ripping, remains a significant concern in Canada. A survey commissioned by IFPI in 2016 found that 27% of Canadian respondents reported pirating music, and 22% reported doing so via stream ripping. The age group most likely to use stream ripping sites was 16-24 year-olds, with 48% reporting doing so in the past year. While Youtube-mp3.org was the largest stream ripping site, the industry hope is that this legal action will send a clear message to other sites still in operation that they are breaking the law, and will face similar action if they do not shut down.

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Canada’s Music Incubator and National Music Centre announce AE West program

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Canada’s Music Incubator (CMI) and the National Music Centre announced a new partnership today to bring CMI’s highly regarded Toronto-based Artist Entrepreneur Program to Studio Bell in Calgary, AB. Artist Entrepreneur (AE) West will launch this fall, and the organizations have put out a national call for submissions.

AE West is a five-week creative entrepreneurship program (Nov. 7, 2017 – Dec. 8, 2017) to help emerging professional artists, of all musical genres, develop sustainable businesses and careers via hands-on mentoring, networking, and collaboration.

“Over the past three years our outreach programs have regularly visited Alberta and Western Canada. The result has been many artists deciding to travel to Toronto to work with us more extensively. By establishing a presence in Calgary, we will be more easily accessible.” said Vel Omazic, Executive Director of CMI in a release. “We intend to complement the work being done by our partners at the National Music Centre, Alberta Music and the Western Canadian music industry by contributing high-level expertise, access to ongoing mentorship and connectivity to the music industry in Toronto.”

“This is another example of National Music Centre investing in our regional music industry, by bringing this level of expertise and support closer to home for western-Canadian artists,” said Adam Fox, Director of Programs, National Music Centre. The program will cost $1,600 for artists, which will allow them access to the NMC’s facilities, including three recording studios, live rooms, classrooms, and archival collections.”

“AE West represents a great opportunity for artists living and working in Alberta,” said Carly Klassen, Executive Director of Alberta Music. “Alberta Music is proud to partner on this pilot program and is excited for the creative support, business development, and networking that artists from Alberta and beyond will have access to.”

Eligible artists must be 18-years-old or over and actively writing, recording, releasing (or about to release) music and performing live. Interviews will be conducted with appropriate candidates prior to program admission. The program is valued at $7,500, with the majority of costs being offset thanks to the generous support of TD Bank and the Viewpoint Foundation. The AE West program application is available at: http://canadasmusicincubator.com/aewest 

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Toronto music industry raises more than $4,000 for Unison and MusiCounts at Blue Jays game fundraiser

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In its second year, the Toronto music industry Blue Jays game raised an incredible $4,404.75 to support the Unison Benevolent Fund and MusiCounts. This is nearly double the amount raised in the event’s inaugural year, where $2,100 was raised in support of the Gord Downie Fund for Brain Cancer Research.

Jon Box of Universal Music Canada is the organizer of the annual event, and is already planning to surpass this year’s achievement in 2018.

“We are inspired by the work of our 2017 charities, MusiCounts and Unison Benevolent Fund, and our greater industry who supported the event with nearly 400 ticket purchases!” says Jon Box. “There’s nothing more gratifying than bringing people together for a good cause. We now have a 2018 goal to sell 500 tickets and raise $5,000. Looking forward to sharing details soon!”

Congratulations to everyone who helped to organize the event, donated prizes for the raffle/silent auction and attended the game. Thanks also to Steam Whistle Brewing, who donated event space and staff for a pre-game get together, as well as $1 from each beer sold to support Unison and MusiCounts.

Below is a selection of social media posts from the event:

MusiCounts celebrates musical excellence and puts musical instruments into the hands of kids who need them the most.  Their mission is to ensure that all children and youth in Canada have access to music education.

Unison Benevolent Fund provides counselling and emergency relief services to the Canadian music community. They are here to help professional music makers in times of hardship, illness or economic difficulties.

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City of Toronto seeking public input for new culture strategy

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Photo credit: City of Toronto

The City of Toronto’s Economic Development and Culture Division (EDC) is developing a new Divisional Strategy to establish priorities over the next five years (2018-2022). In order to develop a comprehensive strategy, the EDC is seeking the input of the public on emerging opportunities, challenges, and areas of focus as they relate to Toronto’s economic development and culture.

As a starting point, they have created a Conversation Guide that highlights key emerging economic and cultural trends and challenges facing Toronto and are asking our stakeholders for their input via an online survey or written submission.

“There is an opportunity to clearly define the public benefit to artistic and cultural events,” the EDC states in the Conversation Guide. “This lens will help evaluate how artists and cultural leaders can leverage technology to support growth and new firm formation within strategic sectors of the local economy. A focus on creativity can involve the Division thinking through the City’s role in funding and/or helping to develop creativity.”

The City’s previous strategies – 2011’s Creative Capital Gains: An Action Plan For Toronto and 2013’s Collaborating for Competitiveness: A Strategic Plan to Accelerate Economic Growth and Job Creation in Toronto – helped lead to the establishment of Music and Film Sector Development Teams, and the Toronto Music Strategy.

With the threat of venue closures still looming large over Toronto’s music scene, the EDC’s call for input for their new strategy is a welcomed opportunity for musicians, venue owners, and label owners to express their concerns to City staff.

In addition to the survey and written submissions, a series of public Town Hall consultations have also been scheduled for September. Written submissions will be accepted until October 2, 2017, and it is encouraged to register for the Town Hall meetings listed below:

Thursday September 14 (Register online)
7:00 – 9:00 pm
Assembly Hall, Performance Hall
1 Colonel Samuel Smith Park Drive

Tuesday September 19 (Register online)
9:00 am – 11:00 am
North York Civic Centre, Burgundy Room
5100 Yonge Street

Saturday September 23 (Register online)
2:00 – 4:00 pm
Scarborough Civic Centre, Rotunda
150 Borough Drive

Wednesday September 27 (Register online)
9:00 – 11:00 am
Toronto Reference Library, Bram & Bluma Appel Salon
789 Yonge Street

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Top 10 Finalists for 2018 Allan Slaight JUNO Master Class Announced

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On Thursday, the JUNO Awards and Slaight Music announced the 10 emerging acts that will continue to a final round of judging in the 2018 Allan Slaight JUNO Master Class.  This year’s three winners will be the third group to participate in Canada’s premier artist development program, which aims to equip artists with the tools, training, and guidance needed to further their careers, build their own sustainable businesses, and become ‘JUNO ready.’

The top 10 acts were selected by a panel made up of representatives from major and independent music labels, publishers, agents, managers, and media partners. The 2018 list includes:

  1. A.Y.E.: Calgary, AB
  2. Caveboy: Montreal, QC
  3. Elise LeGrow: Toronto, ON
  4. FEATURETTE: Toronto, ON
  5. Ivory Hours: London, ON
  6. Nice Horse: Calgary, AB
  7. Nuela Charles: Edmonton, AB
  8. Quake Matthews: Halifax, NS
  9. The Katherines: Vancouver, BC
  10. The Treble: Winnipeg, MB

The Master Class combines music education through MusiCounts and the recognition and support of music excellence through the JUNO Awards.  Allan Reid of CARAS/The JUNO Awards and MusiCounts will be featured on the 2018 Super Jury tasked with selecting the winners.  The Super Jury will also feature JUNO alumni Lights, Kardinal Offishall, Max Kerman (Arkells), and Gavin Brown, in addition to Ali Slaight of Slaight Music.  The acts selected by the Jury will receive a prize valued at over $100,000, including studio time at Slaight Music Recording Studios, an all-inclusive trip to Toronto for a week of mentorship hosted by Canada’s Music Incubator at Coalition Music, a trip to the 2018 JUNO Awards in Vancouver, BC, a performance slot at JUNOfest, and a chance to perform at the exclusive JUNO Gala Dinner & Awards.

Past winners of the Allan Slaight JUNO Master Class include Neon Dreams, The Lytics, Youngblood, Derrival, Slow Leaves, and The Fortunate Ones.  Like this year’s group of finalists, their hometowns are spread across the country, and include Halifax, NS, Winnipeg, MB, Vancouver, BC, and St. John’s, NL.

Visit the Allan Slaight JUNO Master Class website to learn more about the program and this year’s selected emerging talents.

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Music Canada applauds the Government of Canada for initiating consultations on Copyright Board of Canada reform

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August 9, 2017, Toronto:  Music Canada applauds today’s announcement by The Honourable Navdeep Bains, Minister of Innovation, Science and Economic Development, in conjunction with The Honourable Mélanie Joly, Minister of Canadian Heritage, that the government has launched a consultation process to reform the Copyright Board of Canada. The consultations will run until September 29, and will seek public feedback on ideas to make the Copyright Board’s processes more transparent and more efficient.

“Music Canada applauds Minister Bains and Minister Joly for beginning these consultations on Copyright Board reform,” says Graham Henderson, President and CEO of Music Canada. “The time is right to modernize the Board, which will better support music creators and advance Canada’s innovation agenda. A more efficient and predictable regulatory environment will help spur growth for Canada’s cultural industries and the creative class.”

Music Canada has been a lead advocate for change at the Copyright Board. Music Canada participated in both the Senate hearings on the Copyright Board, and the Standing Committee on Canadian Heritage’s Review of the Canadian Music Industry, appearing as a key stakeholder witness in favour of full and meaningful reforms. Graham Henderson also raised the issue in a recent Policy Options op-ed, and cited the repair of the Copyright Board as first priority for government to modernize in a speech before the Economic Club of Canada.

Today’s announcement follows the release of a 2016 report by the Standing Senate Committee on Banking, Trade and Commerce titled Copyright Board: A Rationale for Urgent Review. The thorough and comprehensive report concluded that the Board is “dated, dysfunctional and in dire need of reform.”

During the Senate committee hearings that led to the report, stakeholder and expert witnesses all identified the lack of timely decision-making as the biggest challenge in relation to the Board, and there was wide-spread consensus on the need for urgent, meaningful reform. The Senate report notes that, “On average, the Board may take between 3.5 and 7 years to make a final decision, the result of which is uncertainty and diminished economic activity within Canada’s cultural sector.”

Music Canada looks forward to continuing to work with government on this timely file to develop a regulatory framework for the Board that fosters innovation so that our cultural industries can thrive.

̶   Ends  ̶

 

For more information:

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

 

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.

 

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Polyphonic Ground seeks input on diversity in Toronto’s live music industry

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On July 19, a new initiative called Polyphonic Ground was announced, with the aim of strengthening Toronto’s culturally-diverse music industry. The initiative is spearheaded by Small World Music, and is composed of 12 Toronto live music presenters: Ashkenaz Foundation, Batuki Music Society, Good Kind Productions, iNative, Link Music Lab, Lula Music & Arts Centre, MonstrARTity Creative Community, Music Africa, Revolutions Per Minute, Small World Music Society, Uma Nota Culture, and World Fiddle Day Toronto. The collective plans to foster engagement with a monthly collaborative concert series and diverse professional development programming.

In partnership with Music Ontario, City Hall Live, Cultural Pluralism in the Arts Movement Ontario (CPAMO) and Music Canada Live, Polyphonic Ground will be hosting a series of conversations about diversity in the live music industry. To inform these conversations, and ensure as many voices as possible are heard, Polyphonic Ground has launched an online survey.

The survey states:

The lack of gender and cultural diversity reflected by the larger Toronto music industry has been a hot topic of late. Ad hoc conversations around these issues have taken place at recent panels and forums focused on topics such as venue closures, noise bylaws, the media etc. However, there have been few opportunities to deal with these issues head on and explore how inequities can be addressed.

Have your say and help shape these important conversations. The survey closes Friday, August 11th at 5pm.

Complete Polyphonic Ground’s Diversity & Live Music Conversation Series Survey.

For more information on Polyphonic Ground, check out the press release and follow their Twitter and Facebook pages.

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