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Industry News (298)

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imagineNATIVE and Slaight Music partner to create Bull’s Eye Indigenous music talent search

Bull's EyeOn July 19, imagineNATIVE announced that it had partnered with Slaight Music for Bull’s Eye, a new Indigenous music talent search. According to a release, Bull’s Eye “seeks to nurture Canada’s newest music talent with unprecedented opportunities, including a $10,000 cash award, to turn their talent into a career.”

Canada’s aspiring Indigenous musicians are encouraged to submit a track of their original work through the Bull’s Eye website. Applications are open until August 31. If selected, finalists will be promoted through imagineNATIVE’s social networks leading up to the 17th annual imagineNATIVE Film + Media Arts Festival, happening October 19-23, 2016. During the week of the festival, the final nominees will be announced, and the Bull’s Eye contest winner will be awarded at THE BEAT, imagineNATIVE’s annual music showcase.

In addition to promotional opportunities, the Bull’s Eye winner will receive $10,000 towards the production of the artist’s first official music video, and the chance to travel with imagineNATIVE’s annual Film + Video Tour in 2017, to promote the video to Indigenous communities across Canada. The winner will also receive professional recording sessions with an established Canadian producer for up to three original tracks.

“Slaight Music is proud to support and evolve its partnership with imagineNATIVE in 2016 with Bull’s Eye which will give new Indigenous music artists across Canada unprecedented access and resources to showcase their talent and turn their artistic passion into a career. We are very excited to partner with imagineNATIVE on this unique initiative,” said Derrick Ross, President of Slaight Music, in the Bull’s Eye release.

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Sylvie Forbin appointed as Deputy Director General, Copyright and Creative Industries Sector at WIPO

Sylvie Forbin has been appointed Deputy Director General, Copyright and Creative Industries Sector at the World Intellectual Property Organization (WIPO) by Director General Francis Gurry.

WIPO received a total of 301 applications for the position, and just over a quarter were submitted by women candidates. Applications also varied geographically, coming from candidates in Africa, Asia and the Pacific, Europe, Latin America and the Caribbean, the Middle East, and North America.

According to a WIPO release, six candidates were invited for a one-day in-depth interview and assessment, and all six candidates also met with Director General Francis Gurry to evaluate their technical expertise in March of 2016.

The term of office for Sylvie Forbin is proposed to begin September 18, 2016, and expire September 30, 2020.

Ms. Forbin is a national of France, and brings extensive experience in copyright, especially music copyright, having served as the General Manager of Eureka Audiovisual in Brussels, and most recently as Senior Vice President for Public and European Affairs at VIVENDI in Paris. She is also a veteran diplomat with experience as Vice Cultural Counsellor at the French Embassy in Rome, Counsellor at the Permanent Representation of France to the European Union and Head of Communications and Press Services at the French Embassy in Beijing.

Music Canada would like to congratulate Sylvie Forbin on her appointment, and wish her success in this important role.

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Music Canada voted onto IFPI’s Main Board

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Graham Henderson, President & CEO of Music Canada

Graham Henderson, President & CEO of Music Canada, has been voted onto the Main Board of IFPI, the organization that represents the recording industry worldwide. This marks the first time a representative from Canada has held a position on the Main Board. In addition, Music Canada now has a seat on IFPI’s ILC (International Legal Committee), a group of leading legal experts from IFPI and its member organizations.

IFPI (International Federation for the Phonographic Industry) represents the interests of the recording industry worldwide. IFPI’s mission is to promote the value of recorded music, campaign for record producer rights and expand the commercial uses of recorded music in all its member markets. Its membership comprises around 1,300 major and independent music companies in 62 countries.

The Main Board provides direction and guidance from leading global organizations, markets and music companies to steer IFPI’s priorities. Currently, the Main Board is comprised of representatives from major and independent labels, as well as regional and national trade associations.

“I am honoured that Music Canada will have the opportunity to represent Canada’s music labels on an international level,” says Graham Henderson. “As the music industry continues to adapt alongside new technology, I am proud that Music Canada will be able to collaborate with international colleagues on issues of crucial importance to artists and rights holders worldwide.”

According to Canada’s Department of Heritage, Canada is the third largest exporter of musical talent in the world.

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Creative BC launches Sound Recording Pilot Program

The first program of the $15 million, provincially supported, BC Music Fund, has officially launched. The Sound Recording Pilot Program is designed to support long term sustainability of British Columbia’s sound recording industry, and to help support BC studios in attracting Canadian and international business.

Administration of the BC Music Fund is being carried out by Creative BC, who will announce additional programs on October 18, 2016, to compliment the four streams the Fund aims to support and promote. Those streams are music company development, live music performance, distant location tour/export market development, and industry development. To date, no grants have been distributed.

“British Columbia has become a hub for creation and innovation, and we are proud of the musical talent and technical expertise we have in our province,” said Shirley Bond, Minister of Jobs, Tourism and Skills Training in a release. “Creative BC’s Sound Recording Pilot Program, funded as part of the BC Music Fund, will help increase sound recording activity in our province, and encourage more artists to produce their work here in British Columbia.”

The sound recording program will aid record labels, or other eligible applicants, by allowing them to recuperate 50% of expenditures associated with recording activities up to a maximum of $75,000. Eligible sound recording projects must have a budget of $3,000 or higher.

The Sound Recording Pilot Program has a total budget of $500,000, and applications will be evaluated on a first come, first served basis until the budget is fully committed, or until November 30, 2016. At that point, Creative BC will reassess the structure of the program.

Creative BC is holding information sessions on the program on August 10 and August 11. Interested applicants are invited to attend the sessions in Vancouver to learn more about the application process and the BC Music Fund. Transcripts of the sessions will be made available on Creative BC’s website for those unable to attend.

Interested parties are also invited to provide feedback though the BC Music Fund Pilot Program Survey. The survey will help Creative BC assess the program’s overall benefit to the community, and provide insights for the development of additional future programs to support the BC music sector.

Creative BC has also set up a BC Music Fund mailing list to keep the industry informed with news about the fund’s progress and additional programs.

The BC Music Fund was announced by Premier Christy Clark last February, during a release event for Music Canada’s report BC’s Music Sector – From Adversity to Opportunity. The report encouraged decisive action from the provincial government, municipalities and stakeholders to put BC’s music sector firmly back on the map and secure the benefits it can generate, and it is very encouraging to see that action take shape with the launch of the Sound Recording Pilot Program.

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Canadian music companies successfully settle legal action against isoHunt

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FOR IMMEDIATE RELEASE

Vancouver, 25 July 2016:  Canadian and international music companies have settled litigation against isoHunt Web Technologies Inc. (“isoHunt”) and its founder Gary Fung (“Fung”) with the entering of orders by consent against isoHunt and Fung.  The settlement ends a lawsuit filed in 2010 alleging substantial copyright infringement of music on the isoHunt site, as well as an opposing action filed by isoHunt and Fung.

isoHunt and Fung agreed to a court order finding them liable for infringing the music companies’ rights in their recordings, which were made available for BitTorrent file-sharing through isoHunt’s websites. Fung and isoHunt further agreed not to be associated with any service that makes the music companies’ recordings available without authorization, including by BitTorrent or any other file-sharing technology.

“Music companies in Canada stand shoulder-to-shoulder in the fight against illegitimate sites that distribute massive volumes of creative works without compensation to creators,” said Graham Henderson, President & CEO of Music Canada. “Thousands of Canadian creators, our creative industries, and their employees are directly harmed by these activities. This settlement is a step forward towards providing consumers with a marketplace in which legitimate online music services can thrive.”

isoHunt was one of the largest unauthorized BitTorrent sites in the world, offering access to a vast array of music and films for instant download by millions of users. It operated out of Vancouver with worldwide reach.

“Courts all over the world have confirmed that websites such as isoHunt infringe rights”, said Frances Moore, Chief Executive Officer of IFPI. “Artists, creators and record companies pay a heavy price for that infringement, in lost revenues, lost jobs and lost investment. This settlement sends a strong message that anyone who builds a business by encouraging and enabling copyright infringement faces legal consequences for these actions.”

A timeline of legal activities involving isoHunt:

  • 2008 – isoHunt files a petition in British Columbia Supreme Court against Canadian music companies, seeking to have its BitTorrent file-sharing site declared legal under the Canadian Copyright Act;
  • 2009 – The British Columbia Supreme Court rejects isoHunt’s application, and grants the Canadian music companies’ application to have the petition proceed by way of an action or full trial. isoHunt files such an action;
  • 2009 – A US federal district court finds isoHunt liable for copyright infringement in a case brought by the Motion Picture Association of America (MPAA), citing unchallenged evidence that 95% of the files traded through isoHunt’s sites were likely infringing;
  • 2010 – Two dozen Canadian and international music companies file a lawsuit against isoHunt and Fung in British Columbia Supreme Court, alleging massive copyright infringement and seeking damages;
  • 2012 – The Canadian government passes The Copyright Modernization Act (Bill C-11), which ensures that businesses that enable infringement can be held liable for the activities they facilitate. In public statements, government representatives identify isoHunt as the type of “enabler” that the law is intended to target;
  • 2013 – A US federal court of appeals unanimously upholds the US district court’s decision;
  • 2013 – isoHunt and Fung agree to halt all operations worldwide and are deemed liable for a judgment of US$110 million in the US proceedings;
  • 2016 – by way of a consent order filed in the Canadian proceedings in British Columbia Supreme Court, isoHunt and Fung are liable for CAD$55 million in damages and an additional CAD$10 million in punitive damages.  isoHunt and Fung further agree not to be associated with any service that makes the music companies’ recordings available without authorization.

Despite these successful legal actions, piracy remains a significant problem for the music industry. IFPI estimates that 20 per cent of all fixed line internet users worldwide regularly access services offering infringing music. A recent report by the Digital Citizens Alliance demonstrates that one in three piracy sites contains malware, which could result in identity theft, stolen banking information, or exposure to hackers.

̶   Ends  ̶

For more information:

Quentin Burgess, Music Canada

qburgess@musiccanada.com

+1 (416) 967-7272 x106

 

Adrian Strain, Director of Communications, IFPI

adrian.strain@ifpi.org

+44 (0)20 7878 7935

 

 

Notes for editors:

About Music Canada

Music Canada is a non-profit trade organization that represents the major record companies in Canada, namely 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.

About IFPI

IFPI is the organisation that promotes the interests of the international recording industry worldwide. Its membership comprises some 1,300 major and independent companies in 61 countries. It also has affiliated industry associations in 57 countries.  IFPI’s mission is to promote the value of recorded music, campaign for record producer rights and expand the commercial uses of recorded music in all its member markets.

 

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London City Council to consider two motions aimed at making the Forest City more music-friendly

Next week, City Council in London, Ontario, will consider two motions aimed at encouraging more music in the downtown core. The motions support the development of the London Music Strategy, which was unanimously supported by Council in 2014 with the goal of building London as a live music city and music tourist attraction. The Strategy has made major strides in recent years with the hiring of Cory Crossman, London’s first Music Industry Development Officer, and the subsequent launch of the London Music Office. The Office recently launched the London Music Census, which will assess London’s music assets as well as barriers to growth.

The first music motion before council would allow a temporary exemption of a by-law contained in the City of London Special Events and Procedures – Section 13, which states that amplified music cannot go later than 11pm, with a 15 minute grace period. The motion, put forward by Tourism London, asks Council to allow shows on September 8, 9, and 10, to go later than 11pm but no later than 1am. This would permit outdoor events during Country Music Week and the Canadian Country Music Association Awards, which London will host for the first time this fall. The pair of events are expected to directly benefit the local economy with the booking of approximately 2,000 hotel room nights and an anticipated economic impact of $6-8 million dollars. The motion was supported by London’s Community and Protective Services Committee on July 18th.

The second music motion before council is File Z-8625, a pilot project which temporarily amends Zoning By-law Z-1 to permit amplified music and dancing on existing patios in the Downtown Business Improvement Area and the Old East Village. The temporary amendment would run from August 1 to September 30, 2016. The motion was brought forward by the London Music Office, via the Culture Office, and was supported by the London Planning and Environment Committee last month.

“London is a diverse and eclectic music community that houses many great venues. Current by-law restricts amplified entertainment on commercial patios whether that is a radio, TV or musician singing,” said Cory Crossman, London’s Music Industry Development Officer. “To best serve the community, the Music Office wishes to launch a pilot project focused on establishing best practices to work forward from. This project is temporary and focused on creating practical solutions for amplified music on patios at restaurants, bars and dedicated venues.”

Music Canada research has shown that seemingly minor adjustments to municipal policies can paid major dividends in the growth of a city’s music scene. The Mastering of a Music City, which identifies best practices for growing a city’s music scene, cites an example from the State of New South Wales, which eliminated a special license needed by venues to host live music in 2009. Music-friendly policies allow music and culture to flourish in downtown areas. Creating a vibrant music scene not only brings economic benefits in the form of business activity and tourism, it adds a ‘cool’ factor to a city that can accelerate other benefits such as attracting and retaining investment and talent. For example, Montreal has invested heavily in its cultural district, the Quartier des Spectacles, which hosts over 30 venues and even more festivals, which, according to officials with the city of Montreal’s cultural office, has increased the quality of life for those living and working there.

The two motions before Council are indicative of the continued growth of the London Music Strategy, and a sign that the London Music Office, Tourism London, and the London Arts Council are committed ensuring the Forest City is a music-friendly city.

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Polaris Prize reveals 2016 Short List nominees

This morning, the Polaris Music Prize, which honours the year’s best Canadian album, revealed the 2016 Short List nominees. The list includes:

Black Mountain – IV

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Basia Bulat – Good Advice

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Grimes – Art Angels

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Carly Rae Jepsen – E•MO•TION

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Kaytranada – 99.9%

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Jessy Lanza – Oh No

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PUP – The Dream Is Over

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Andy Shauf – The Party

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U.S. Girls – Half Free

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White Lung – Paradise

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The winner will be determined at the Polaris Gala, happening September 19, 2016 at The Carlu in Toronto. The gala, which will be livestreamed via CBC Music’s Facebook page and YouTube channel, will be hosted by Tom Power, CBC Radio 2 Morning host and Polaris jurist, and Amanda Parris, host of CBC Radio 2’s Marvin’s Room and CBC’s Exhibitionists.

The winning artist will receive a $50,000 cash prize, while the nine other Short List artists will receive $3,000 courtesy of Slaight Music.

The Polaris jury consists of journalists, broadcasters, bloggers and programmers from across Canada, and the winning album is based solely on artistic merit, without consideration of genre or record sales. The prize’s past winners are Buffy Sainte-Marie (2015), Tanya Tagaq (2014), Godspeed You! Black Emperor (2013), Feist (2012), Arcade Fire (2011), Karkwa (2010), Fucked Up (2009), Caribou (2008), Patrick Watson (2007), and Final Fantasy / Owen Pallett (2006).

 

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Canadian Country Music Association announces 2016 CCMA Award nominees

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Today, the Canadian Country Music Association revealed the nominees for the 2016 CCMA Awards, taking place in London, Ontario. 34 CCMA Award categories were revealed, with 8 of the categories being presented during the live CBC broadcast on Sunday, September 11, 2016, hosted by Jessi Cruickshank.

The nominees for the 2016 CCMA Fans’ Choice Award were revealed last night on ET Canada, featuring artists Dean Broady, Brett Kissel, Johnny Reid, Dallas Smith, and Yoan. Fans can vote beginning today, and have until 5 PM on September 11 to cast their vote.

2016 also marks the 40th anniversary of the Canadian Country Music Association bringing Country Music Week across the country. Along with the CCMA Awards, London will also host an industry conference and music festival, which includes a Songwriters’ Series, talent showcases, FanFest, and Legends Show that pays tribute to Canada’s most cherished country artists.

Country Music Week and the 2016 CCMA Awards are expected to generate an economic impact of $6-$8 million dollars for London. In 2015, Halifax, NS, exceeded economic impact estimates, generating $11.8 million in economic activity for the province, and $5.5 million in new money (GDP).

Performers for the broadcast will be announced throughout August. For more information, visit the full CCMA release.

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CONNECT announces increased royalties for Canadian music labels

CONNECT Music Licensing has announced that an efficiency project undertaken with Re:Sound Music Licensing has resulted in increased royalty payments for Canadian rights holders.

Data improvement and other efficiencies have led to an increase of CAD$1.2 million annually for CONNECT’s members, who range in size from major record labels to artist-owned imprints.

Improvements in data streams provided by CONNECT’s members, and the creation of a single repertoire database have also freed up an additional CAD$1 million in accelerated royalty payments for labels and another CAD$1 million to the performers on recordings through Re:Sound’s member organizations ACTRA RACS, MROC and ARTISTI.

“The increased royalties are particularly notable as they result from our drive to improve royalty collection in line with international best practices, as opposed to adding revenues from a new music service or higher tariff award from the Copyright Board,” said Graham Henderson, President of CONNECT Music Licensing, in the release. “Organizations like CONNECT and Re:Sound exist only to serve rights holders, and today we have delivered on that promise.”

Royalty distributions, as a result of this project, will also happen faster on ongoing basis. Depending on the tariff, payout timelines have been accelerated by 1-6 months, a CONNECT rep told Billboard.

Reaction from Canada’s major labels acknowledged their contribution through data stream improvements:

Members of Canada’s music industry also shared the positive news:

Coverage of the increase in royalties for Canadian rights holders has also been featured in Canadian Musician and FYI Music News.

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Ontario study shows arts and culture attract top talent

Business for the Arts has released the results of a new study that details the extent to which arts and culture attract both skilled workers and the businesses that seek them. Culture for Competitiveness: How Vibrant Culture Attracts Top Talent was created with support from the Ontario Arts Council, with research conducted by Nanos Research.

The study shows that a vibrant arts and culture scene, including live music events, can be a major driver in attracting and retaining employees, and is based on a survey of 500 skilled workers, and 508 businesses in Ontario. While businesses recognize the magnetic nature of arts and culture to skilled workers, the study concludes that they can do more to support local arts communities. According to the study, only 25% of businesses in Ontario make financial contributions to arts and/or cultural organizations in their community.

“The study’s bottom line is that businesses need to make arts and culture more of a priority,” said Nichole Anderson, President & CEO of Business for the Arts. “Our culture for competitiveness study confirms that skilled workers seek out vibrant arts and culture hubs when making job decisions, but businesses who could benefit from the magnetic effect of culture are not investing in their arts and culture ecosystem.”

The study includes the following findings:

  • 60 per cent of businesses said that there are usually more qualified and attractive potential employees in communities with a thriving arts scene
  • 64 per cent of businesses said that a thriving arts and culture scene is something that would make it easier to attract top talent to their community
  • 49 per cent of skilled workers go to arts and cultural festivals two to four times per year
  • Just over half of skilled workers said that a healthy vibrant arts and culture community has influenced their choice regarding which city they would want to work in
  • Skilled workers in Toronto tend to value arts and culture more than those living elsewhere (85 per cent compared to 73 per cent)
  • 75 per cent of skilled workers agreed that government support for the arts makes a more livable community

Thriving Arts Scene Image

The results of this new study echo parts of Music Canada and IFPI’s Mastering of a Music City report. One finding in the report was that music branding undertaken by a city adds a “cool” factor, that can attract and retain investment and talent. In Berlin, the intermingling of music and tech businesses has demonstrated that a successful music economy can attract and retain talent in other industries as well.

The Mastering of a Music City looks to global cities where an understanding exists that arts, culture, and music specifically, help to attract talent and business. Fredrik Sandsten, Event Manager Music at the public tourism agency in Sweden says of Gothenburg, “We have a very industrial city with huge industrial companies. They want culture and music to flourish because they see the link to attracting young workers to their companies.”

Ontario is home to many communities with vibrant arts scenes, where music, in addition to attracting businesses and talent, contributes directly to the economy. Music Canada’s report Live Music Measures Up: An Economic Impact Analysis of Live Music in Ontario identified that live music companies generated $628 million from live music activities in 2013, and brought a total impact of 10,500 jobs to the province.

Music Canada welcomes the results of Business for the Arts’ new study, and encourages Canadian businesses to support their local arts communities, including local music scenes, so that those communities and businesses continue to flourish together.

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