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Creative BC and Province announce four new BC Music Fund programs

In two separate announcements this month, Creative BC has detailed the allocation of $8.21 million from the BC Music Fund, which will support four new programs, as well as a funding boost for Music BC.

On December 1, Ministers Shirley Bond and Peter Fassbender, along with Creative BC CEO Prem Gill, announced $4.41 million in funding allocations, $1.41 million of which will support the expansion of Music BC’s activities in the areas of export & professional development, and touring & expanded showcase opportunities.

“As the voice of British Columbia’s music industry, we continue to provide funding to support the growth and sustainability of the province’s music community — artists, music professionals, and other creators,” said Music BC’s Executive Director, Alex Grigg in a press release. “This additional $1.41 million will allow us to provide greater support for our industry partners and expand our own network to reach more of the province’s artists and industry professionals. We applaud and thank the support from Creative BC and the Province for this opportunity and partnership.”

A further $3 million has been allocated to the Sound Recording Program. This program follows the Sound Recording Pilot Program, which distributed $500,000 for sound recording projects in its first stage. Following industry feedback from the pilot program, the expanded criteria for the Sound Recording Program allows for increased access for unincorporated studios and artists. More information on the Sound Recording Program, including eligibility guidelines and the application process, is available on Creative BC’s website.

On December 15, Creative BC and the Province of British Columbia held an announcement at 604 Records on the allocation of $3.8 million more from the BC Music Fund. The announcement featured a performance by celebrated BC songwriter Frazey Ford.

The $3.8 million will support three brand new funding programs:

The Live Music program will receive $2.5 million in dedicated support, available to BC-based festivals, venues, live music presenters and event producers. The program is intended to increase the number of live music performances within the province.

$1 million has been earmarked for Industry Initiatives, which according to Creative BC’s release will “support industry events and export activities, including industry conferences, trade missions, and collaborative export marketing, to further grow and showcase BC’s music industry.”

The Research program devotes $300,000 to projects that inform the growth, evolution and innovation of BC’s music sector.

“British Columbia’s music sector has seen immense growth and success, thanks to the contributions of our many talented artists,” said Shirley Bond, BC’s Minister of Jobs, Tourism and Skills Training and Responsible for Labour. “The funding announced today (December 15) from the BC Music Fund will serve to further support artists and live music related businesses including festivals, venues, and event producers, ensuring a strong sector for years to come.”

Below is the full video of the December 15 announcement.

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Standing Senate Committee on Banking, Trade and Commerce releases report on the Copyright Board of Canada

At a press conference today in Ottawa, members from the Standing Senate Committee on Banking, Trade and Commerce (Deputy Chair Joseph A. Day and Douglas Black) announced the release of their report on the operations and practices of the Copyright Board of Canada. The report, which was officially tabled in the Senate on November 30, follows two days of hearings held by the Committee earlier in November. The Committee heard from representatives from the Board, stakeholders, academics and experts. Music Canada took part in the hearings, with President & CEO Graham Henderson appearing before the committee on November 2.

The report, titled Copyright Board: A Rationale for Urgent Review, is a timely and insightful assessment of the current tariff-setting process and its shortcomings. The Report correctly notes that the Committee’s witnesses agreed that the Board’s biggest challenges are delay and unpredictability, while also highlighting potential areas for improvement, such as the imposition of deadlines, case management, simplified/expedited procedures, full-time members, and the elimination of retroactive decisions.

The report states as follows:

“The Copyright Board of Canada plays a pivotal role in Canada’s cultural sector. Yet, from what the committee heard, the Board is dated, dysfunctional and in dire need of reform. Whether the reasons are statutory, structural or otherwise, the Board did not – or could not – provide the committee with solutions to the problems that were identified by witnesses. The concerns outlined in this report require further investigation and timely action.”

The report ultimately recommends that “the forthcoming five-year statutory review of the Copyright Act should include a thorough, in-depth examination of the Copyright Board of Canada’s mandate, practices and resources.”

Music Canada applauds the Committee’s leadership and recommendation for an urgent, in-depth review.

“I commend the Senate’s Banking, Trade and Commerce Committee for undertaking this important review. The common message at the hearings was that the Board has actually become a barrier to business,” says Graham Henderson, President & CEO of Music Canada. “The Board is inefficient and unpredictable, and decisions take too long. The Committee could not have been more damning in their indictment when they said that the ‘Board is dated, dysfunctional and in dire need of reform.’ The Committee’s work makes it very clear that the Copyright Board and its tariff-setting process need to be overhauled.”

Music Canada looks forward to working with the government on this issue as we approach the 2017 review of the Copyright Act. A more efficient and predictable tariff-setting process is something that all Board stakeholders can aspire to, and we welcome the Committee’s recognition of the urgency of this issue.

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Music Canada unveils Music Cities Toolkit at Canadian Chamber of Commerce AGM

gh-screen150 representatives from chambers of commerce across the country took part in a Music Cities workshop conducted by Graham Henderson yesterday at the Canadian Chamber of Commerce (CCC) Annual General Meeting in Regina.

Henderson unveiled a Music Cities toolkit that Music Canada custom-built for the CCC’s network of over 450 chambers of commerce and boards of trade, in all regions of the country.

The toolkit was designed to provide chambers of commerce with a roadmap and guide to activate the power of music in their communities.  It describes potential roles for the chamber as follows:

  1. Catalyst – as the leading voice of business, acting to enhance economic prosperity and quality of life, the chamber can act as a catalyst to stimulate the Music City discussion
  2. Advocate – convene a music policy task force to identify municipal policies and regulations that are hampering the creation, production and promotion of music
  3. Operator – develop a proposal for the chamber to act as a music office/officer
  4. Trainer – provide training to entrepreneurs within the music community
  5. Promoter – host and amplify music events, celebrate the music history in your community

The toolkit builds on the global success of Music Canada’s report The Mastering of a Music City, Key Elements, Effective Strategies and Why it’s Worth Pursuing.

“We are so pleased that Music Canada has partnered with us and shared their excellent work in this space with the chamber network as a tried and tested economic development tool,” said Perrin Beatty, President and CEO of the Canadian Chamber of Commerce.

“We are extremely pleased to be able to work with the Canadian Chamber of Commerce whose pan-Canadian network makes it an ideal partner to spread the thinking behind and the benefits of adopting the Music Cities model for your community,” said Graham Henderson.

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music-cities-toolkit-cover-2The Music Cities Toolkit is available here.

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Music streaming now included in Canada’s historic Gold/Platinum certification program

New award and branding revealed at CCMA Awards

Toronto, ON – September 12, 2016

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With the introduction of a new Single Award, Music Canada’s Gold/Platinum certification and awards program will now include streams towards digital track certifications. Over 50 new Single certifications were revealed today, with 10 artists receiving their first Canadian certifications.

“Today’s announcement signifies a pivotal moment in Canada’s evolving digital music marketplace,” says Graham Henderson, President & CEO of Music Canada. “By accepting on-demand streams for track certifications, Music Canada can continue to acknowledge the success of Canadian and international artists, as well as the subscription-based streaming platforms currently thriving in our market. The new Single Award helps maintain the integrity of our Gold/Platinum program, which has historically recognized the active choice consumers make when building their personal music libraries.”

During County Music Week in London, ON, rising country stars Brett Kissel and Chris Lane were presented with the first Single Award plaques leading up to Sunday’s 40th CCMA Awards broadcast.

“We are thrilled that Music Canada is now accepting streams with its new Single Award,” says Steve Kane, President of Warner Music Canada, who presented Kissel with his plaque for the Gold Single ‘Airwaves’ at Saturday’s CCMA FanFest. “Canadian music fans have welcomed the arrival of streaming subscription services with open arms, and are now consuming more music than ever before. We are excited to honour new milestones for our artists who have flourished on this new path, and whose fanbases continue to grow as streaming increases in popularity.”

The new Single Award will combine on-demand audio streams from subscription services with digital download and CD single sales. Streams can be used toward certification using a conversion formula of 150 streams equaling 1 unit towards certification. This 150:1 ratio is consistent with other major global counterparts. Streaming data from YouTube/VEVO videos will not be accepted towards certification upon launch.

The Single Award launch also coincides with the reveal of new bilingual branding for the program, which has certified over 16,000 releases in its 41-year history.

Music Canada’s Gold/Platinum Twitter, Facebook, and Instagram accounts are live with the new branding. For more information, visit www.musiccanada.com/gold-platinum.

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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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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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CMW announces 2017 dates and the first Austin-Toronto showcase

Canadian Music Week 2017 will take over Toronto from April 18 – 22. The four-night festival will host over 800 showcasing bands at more than 40 venues in the city’s downtown. 2017’s convention will be held at the Sheraton Centre Toronto Hotel, 123 Queen Street West.

CMW 2017

At CMW 2016, global city planners and the music industry met for The Mastering Of A Music City, a one-day international creative economy summit, which was inspired by Music Canada’s report of the same name. Austin was a focal point of the conference, and the report, because of its incredible music economy, where music tourism accounts for almost half of their US$1.6 billion economic output.

Neill Dixon (right), CEO Canadian Music Week and Don Pitts (left), Music & Entertainment Division Manager - ATX Music & Entertainment Division, City of Austin. Photo via CMW.

Neill Dixon (right), CEO Canadian Music Week and Don Pitts (left), Music & Entertainment Division Manager – ATX Music & Entertainment Division, City of Austin. Photo via CMW.

CMW 2017 will present the first Austin-Toronto showcase, featuring premier talent from both cities. The showcase is an outcome of the recent Austin-Toronto Alliance Summit, where industry leaders met in Toronto in June of 2016. The Music City Alliance between Toronto and Austin was formed in 2013 to promote mutual growth opportunities between governments and industry.

For more information on CMW 2017, head over to their website at www.cmw.net

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The Ministry of Tourism, Culture and Sport unveils Ontario’s Tourism Action Plan

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A crowd enjoying The Roots at Toronto’s Luminato Festival, via Ontario’s Tourism Action Plan

One of the final announcements made by Michael Coteau as Minister of Tourism, Culture and Sport was the release of Ontario’s Tourism Action Plan. Since the release, Eleanor McMahon has been appointed Minister of Tourism Culture and Sport, and Michael Coteau is now Minister of Children and Youth Services. In the Plan, the province’s tourism industry is said to generate over $28.5 billion annually, which represents 4% of the GDP.

According to the press release, sector wide engagement across the diverse tourism industry produced an agreement amongst leaders – the need for immediate action. The Plan identifies five priority areas the Government will focus on: Indigenous-led tourism, Francophone tourism, the sharing economy, culture and sport linkages, and events and celebrations.

Music Canada has found that live music events and celebrations contribute significantly to Ontario’s economy. In our report, Live Music Measures Up: An Economic Impact Analysis of Live Music in Ontario, we determined that in 2013, the total impact of music tourism in Ontario was 9,530 jobs, $405.1 million in labour income, and $609.1 million in gross domestic product.

The Action Plan’s five priority areas are further broken down into twelve action items.  Several of them provide clear opportunities for the live music, and music tourism sectors:

  • An Investment Approach for Economic Growth recognizes that investment from the private sector is critical to increasing visitation and creating jobs.
  • A New Approach to Data Collection to Improve Data Quality and Availability could allow for data relating to music events, whether it’s live or recorded music, to be collected in its own independent category.
  • Working Together to Improve the Business Climate for Tourism – Reduce Regulatory Burdens. The Government has expressed a commitment to improving the regulatory environment for the tourism industry, and plans to hold discussions with industry partners to prioritize regulatory challenges faced by the sector. In Live Music Measures Up, Music Canada found that the legal and regulatory environment was the only factor live music companies in Ontario identified as having a net negative impact on their success.

We encourage our partners involved in live music and events to continue to engage in discussions, and provide feedback to the Ministry of Tourism, Culture and Sport as more detailed plans are developed.

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Ben Purkiss Design wins Gold at 2016 Muse Creative Awards for ‘Mastering of a Music City’ report

Congratulations to Ben Purkiss Design, who won Gold in the Muse Creative Awards’ Annual Report category for his design of Music Canada & IFPI’s The Mastering of a Music City report. The announcement was made this past weekend by the Muse Creative Awards, which is an international competition for creative professionals who “inspire through concept, writing or design, whether through traditional or electronic media.” The 2016 Awards featured more than 1,200 submissions from 33 countries around the world.Gold Award Site Big

Purkiss designed the cover art, layout, and infographics for The Mastering of a Music City from scratch, creating a cohesive look for the 100+ page report. The report presents a roadmap to help local authorities, businesses, community groups, and the creative sector capitalize on the potential of music to build, grow and strengthen their cities.

“I had the incredible opportunity to work with IFPI and Music Canada on their publication Mastering of a Music City: Key Elements, Effective Strategies and Why It’s Worth Pursuing,” said Purkiss. “IFPI and Music Canada are those clients every designer dreams about; they EXPECT you to push your creative boundaries. It’s a very challenging, yet incredible experience that I am very grateful to have had.

“When I started the initial research ‘phase’ of this project, I looked for inspiration wherever I could find it; from movie intros, online ads and the far reaching depths of online portfolios,” he continued. “I wanted to create a visual masterpiece that challenged who I was as a designer and my abilities to use the software I work with every day. It certainly did not disappoint.

“I quickly discovered what was to be my main source of inspiration – clouds. Clouds are ever changing and evolving – they can hide something beautiful, or in this case, elements within a design. I took that idea to create layer upon layer of design elements – mixing colours and objects to create the overall visual cues. This was unbelievably challenging yet incredibly rewarding.”

The stunning design is a big part of the reason that the report has been so well received around the world, said Amy Terrill, Music Canada’s Executive Vice President, and lead author of the report. Since its release in June 2015, The Mastering of a Music City has been cited by an array of cities around the globe, including Sheffield, United Kingdom, Sydney, Australia, and Bogota, Columbia. To date, more than 800 printed reports have been distributed at more than thirty presentations to conferences and business association meetings in locations such as Pemberton, British Columbia, Columbus, Ohio, Aarhus, Denmark, and Brighton, United Kingdom.

“Winning a Muse Award was completely unexpected for me,” said Purkiss. “I don’t think it has fully sunk in yet, but it’s a gratifying experience knowing my work is truly recognized and rewarded.  I’ve never given myself much credit (let’s face it, most people are their own worst critics) but this is really showing that hard work can, and does, pay off – especially when you are given creative liberties from clients like IFPI and Music Canada who value the work of all artists.”

The Muse Creative Awards is administered by International Awards Associate Inc., and judged by a panel of internationally-recognized creative professionals. The panelists identified “the most innovative and creative concepts, the strongest executions, and the highest quality in messaging,” said an MCA release.

Photos of Ben’s design are available on his Behance page, and the full report is available for download in our Resources section.

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Canada Outpaces Global Music Revenue Growth in 2015 but Outlook Remains Cautious

The global music community celebrates a return to revenue positive in 2015 with a 3.2% growth of industry revenues to US$ 15 billion, while Canada more than doubles this upswing with an 8.3% increase, helping to make up for a double digit loss in 2014.

Driven by a strong release schedule and explosive growth in premium subscription services, largely the result of new entrants in the Canadian market, 2015 finished as an exceptional year for the Canadian music industry. In fact, three of the top ten global recording artists in 2015 were Canadian: Justin Bieber at number four, Drake at number nine and The Weeknd rounding out the top ten.

Despite these positive results however, it is too early to confidently declare a reversal in trends, given that losses in 2012 (-2.9%), 2013 (-5.4%) and 2014 (-11.0%) followed immediately after the positive 2011 figures (+3.1%), which marked the first revenue growth in this century in Canada.

Complete global figures and analysis were released today in IFPI’s Global Music Report 2016.

Highlights of Canada’s 2015 Music Revenues:

  • Digital revenues surge to 52% of total revenues (US$173.5 million), somewhat higher than the global share of 45%
  • Premium streaming revenues explode in Canada, with a 151% increase (US$29.4m in 2015 v. US$11.85m in 2014), overtaking ad-supported streaming revenue, which only grew 32% (US$19.49m in 2015 v. US$14.76m in 2014)
  • Physical revenues in Canada make up 35% of the market (US$ 118.9million), slightly lower than the global share of 39%
  • Performance rights revenues are 11% in Canada compared to 14% globally
  • Synchronization rights are 2% compared to 2% globally

In Canada, as in other countries around the world, a record volume of music is being consumed, yet artists and producers are not enjoying fair compensation, primarily because upload services like YouTube are not paying normal music licensing rates due to the misapplication of a legislative framework called “safe harbours”. This has created what is known as the “value gap”. Furthermore, the “value gap” has resulted in a distorted market, where premium services are forced to compete unfairly with other services that use copyrighted content to build their businesses, but do not pay fair rates.

“In Canada, where premium streaming has had such a significant positive effect on our market in 2015, the “value gap”, where ad-supported services benefit from lower-than-normal licensing rates, causes immense concerns,” says Graham Henderson, President & CEO of Music Canada. “We hope that legislators will work with the music community to address this market distortion and reduce the gap so that rights holders are compensated fairly for their work.”

Complete market information for Canada and all other national markets will be released on Thursday, April 14, 2016 by IFPI.

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