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JUNO Awards 2019: How Music Canada is working to strengthen Canada’s music ecosystem

JUNO Awards week is here and Music Canada is gearing up for another spectacular few days celebrating Canadian music with our friends and partners in the music community.

Last year at the JUNOS we showcased how our advocacy work benefits artists at every stage of their career with our #EveryStage campaign. This year, we aim to highlight the ways we’re working to improve the music ecosystem in Canada. With the support of our members, Sony, Universal and Warner, we’re committed to building a framework where music businesses can thrive, and artists can have sustainable and prosperous careers.

Five major areas in which we are working to create a better Canadian music ecosystem are:

  • Improving Policy Frameworks,
  • Addressing the Value Gap,
  • Diversity and Inclusion,
  • Music Cities, and
  • Celebrating Success.

 

IMPROVING POLICY FRAMEWORKS

Music Canada President and CEO Graham Henderson testifies before the Standing Committee on Industry, Science and Technology

A major pillar of Music Canada’s mandate is advocating for a functioning marketplace where music creators are paid fairly every time their work is used.

Copyright is the bedrock of remuneration for the creators of recorded music. It enables them to receive payment when their recordings are copied or played in public, including on the Internet. In the age of streaming, it’s vital that copyright legislation and institutions be adaptive and responsive so musicians and labels are paid whenever their work is commercialized by others. 

Some of the ways that we’re working to strengthen copyright and boost investment in music are: successfully championing reforms to the Copyright Board of Canada that will make the Board’s processes faster, more efficient, and more predictable; calling for the elimination of copyright exemptions that syphon value away from music, and; encouraging provincial government investment in regional music economies, such as the BC Music Fund and Ontario Music Fund.

 

ADDRESSING THE VALUE GAP

Music Canada has been a global leader in researching the Value Gap – its origins, the economic toll, and practical solutions the Government of Canada can implement to help fix the problem. Throughout the government’s current review of the Copyright Act, numerous music community representatives testifying before government committees referenced our report, The Value Gap: Its Origins, Impacts and a Made-in-Canada Approach, and presented the same four recommendations to government. It was abundantly clear that the Value Gap is a real phenomenon that is hurting creators and that it needs to be addressed. Its harm is felt across the music community – everyone from publishers and composers, to labels, and especially artists, are at a disadvantage because of outdated copyright legislation.

Because artists are the motor that drives the music industry, and the storytellers that music fans fall in love with, they are best equipped to communicate the serious and erosive effects the Value Gap is having on their careers, their economic livelihoods, and the wider music community.

Music Canada is committed to supporting artist advocacy, because their stories truly resonate with the public and political decision-makers. We do this through support for discussions at music conferences, economic forums, and spreading the voices of artist advocates at our events and in our reports.

 

DIVERSITY AND INCLUSION

Dr Stacy L. Smith at the 2018 Global Forum

In 2017, Music Canada embarked on an exhaustive organizational review to provide recommendations on ways we could demonstrate leadership in inclusion and good governance. At our annual Playback event in October 2018, we announced preliminary results of this review, including the addition of two new independent member positions on our Board of Directors to bring representation of women on our Board to 40%. We look forward to announcing further details on ways we’re working to reflect the exquisite mosaic that is our Canadian music community in the coming days.

Bringing measurable inclusivity and accountability for the music industry was the topic of one of our major annual events in 2018 called the Global Forum at Canadian Music Week. We were proud to host Dr. Stacy L. Smith of the Annenberg Inclusion Initiative, the leading think tank in the world studying issues of diversity and inequality in entertainment. Dr. Smith pioneered the now popular “Inclusion Rider,” and at the Global Forum, spoke to her organization’s research into inclusion in the music industry.

During JUNOS Weekend 2019, we’re pleased to be supporting CARAS’ Allies in Action event, focusing on action undertaken or underway in the Canadian music community to create safer and more inclusive workplaces and environments for industry members, artists and music fans.

 

MUSIC CITIES

The 2018 Music Cities Summit at CMW

Since the publication of our 2012 report Accelerating Toronto’s Music Industry Growth, Leveraging Best Practices from Austin, Texas, Music Canada has become an internationally renowned source for research into policies municipalities can implement, and actions they can take to activate the full potential of their music economies. Our leadership in Music Cities was further cemented with the publication of our groundbreaking The Mastering of a Music City report in 2015.

Since the release of these reports, we’ve seen phenomenal traction in Canadian cities like Smithers, Vancouver, Toronto, Ottawa and 2019 JUNO Awards host city London. These cities have all formulated an official music strategy, and some have established a music office, or officer position, within their municipality.

In addition to presenting our research at Music Cities events across the globe , Music Canada will host its third annual Music Cities Summit at Canadian Music Week in May of 2019. Look out for details on the 2019 Music Cities Summit, including featured speakers and other program elements in the coming weeks.

 

CELEBRATING SUCCESS

Jessie Reyez receives a Double Platinum plaque with the Universal Music Canada team

Music Canada is proud to return as a sponsor of the Album of the Year category, as well as the Presenting Sponsor of the Chair’s and Welcome Reception on Friday, March 15. With our sponsorship of the category and continued partnership with the JUNO Awards, we join music fans across the country in celebrating the works from this year’s nominees – Hubert Lenoir, Jann Arden, Shawn Mendes, The Weeknd, and Three Days Grace – and congratulate the dedicated label and production teams involved with each release.

Throughout the year, we also join fans in celebrating their favourite artists’ first certification milestones to a lifetime’s worth of achievements with our historic Gold/Platinum program, which was launched in 1975 to celebrate milestone sales of music in Canada. Today, artists can receive new certifications for the combined sales and stream equivalents of their singles and albums, and are often surprised with a tangible recognition of national success by their labels’ devoted teams. Certifications are shared on our Gold/Platinum Twitter, Instagram, and Facebook accounts, and the latest Gold certifications are added to our #GoldinCanada playlist every Thursday.

Music Canada also presents two awards, our President’s Award and Artist Advocate Award, during Playback, our annual industry dialogue and celebration. So far, artists Miranda Mulholland (2017) and Loreena McKennitt (2018) have been honoured with the Artist Advocate Award in recognition of their outstanding advocacy efforts to improve the livelihoods of music creators. Meanwhile, the President’s Award, which is presented to an individual working outside the music community who displays a deep passion for music and the people who make it, has been received by Music Cities champions including former Toronto City Councillor Josh Colle (2018), and co-recipients Cory Crossman, London Music Industry Development Officer, and Chris Campbell, Director of Culture and Entertainment Tourism at Tourism London, who were instrumental in bringing the JUNOS to London this weekend for the very first time.

 

A full rundown of JUNOS Week events is available on the JUNO Awards website. Tickets to The 2019 JUNO Awards Broadcast are available online at budweisergardens.com, by phone at 1-866-455-2849 and in-person at the Courtesy Ford Box Office at Budweiser Gardens (Located at Gate 1).

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VIDEO: Artists discuss strategies to make positive change at Folk Alliance International 2019

Folk Alliance International, the world’s largest folk music conference, descended on one of Canada’s most culturally historic cities in 2019 and was host to countless spirited performances, discussions, and interactions. The festival is known for musical performances into the wee hours, but a relatively early panel yielded profoundly moving, honest, and inspiring discussion.

On Saturday, February 16 at the Fairmont The Queen Elizabeth Hotel in Montreal, Music Canada, in participation with Miranda Mulholland, was proud to present an event titled ‘Artist Advocates in Action.’

Five artists, each with their own advocacy issues close to their hearts, discussed how they most effectively work to create change, and how they tackle challenges such as criticism, drawing a line between their personal and professional lives, and balancing life on the road with parenting and other commitments.

The panel featured musicians Zoë Keating, Peter Katz, Aaron Myers, and Caroline Brooks, with Miranda Mulholland moderating the discussion. Watch the full ‘Artist Advocates in Action’ panel below.

 

More on the artists:

 

Caroline Brooks

Caroline Brooks is a singer-songwriter, session vocalist and guitar player from Toronto. She is one third of critically acclaimed Good Lovelies, a JUNO award-winning band that has toured internationally for the last 12 years. They have released 8 albums and their latest single “I See Gold” is up for Song of the Year at the International Folk Music Awards.

Outside of performing, Caroline is a sitting board member with the Mariposa Folk Festival and Muskoka-based advocacy group Safe Quiet Lakes. She and her partner also co-founded Secondhand Sunday, a community re-use and waste reduction program based in Toronto.

Website: http://goodlovelies.com/
Spotify: https://open.spotify.com/artist/3hh35eWuRs5ZqIUIKyne5S

Zoë Keating

DIY Cellist and composer Zoë Keating has worked with many artists and productions, including Jeff Russo, Amanda Palmer, Imogen Heap and the podcast Radiolab. Her music has achieved a surprising degree of ubiquity for a DIY artist, from the bumper music to NPR’s Morning Edition to the thinking-music of the Sherlock Holmes character on CBS Elementary to the theme music for the Brazilian telenovela Para Sempre.

A vocal advocate for the rights of creators, Keating was elected a governor of the San Francisco chapter of the Recording Academy, named a Young Global Leader by the World Economic Forum, and serves on the board of CASH Music, a nonprofit organization that builds open source digital tools for musicians and labels.

Website: http://www.zoekeating.com/
Spotify: https://open.spotify.com/artist/6OHXnLZCeWUwtdDsBdqOdr

Aaron Myers

Mr. Myers is a life-long social activist and musician who uses entertainment to increase awareness of social issues. While a full-time college student Mr. Myers ran unsuccessfully for the office of Mayor in Corsicana, Texas. In 2008 he served as a field organizer for the Obama campaign in Florida. Mr. Myers is also a skilled volunteer coordinator event manager and public speaker an experienced music teacher and an army veteran. He has also served as National Director of the nonprofit Global Family Program. A jazz and soul musician Mr. Myers is the Resident Artist at Mr. Henry’s Restaurant in DC.

Website: http://www.aaron2.me
Spotify: https://open.spotify.com/artist/5JqWYlpaw2lH5PrAXxFtqK

Peter Katz

Over the past decade, Peter has seen his albums debut at #1 on the iTunes singer-songwriter charts; he’s shared the stage and studio with the likes of Academy Award Winner Glen Hansard (Once, The Swell Season), JUNO Award-Winners The Good Lovelies, Polaris-Prize nominated Melissa McCelland (Whitehorse) and the Legendary Garth Hudson from The Band. He’s toured all over the world, regularly playing to capacity crowds, and has managed to build an impressive fan-base of loyal listeners, selling over 25,000 copies of his discs mostly from the stage, one show at a time. Never content to sit still for long, Peter Katz has his eyes firmly set on the future.

Website: http://www.peterkatz.com/
Spotify: https://open.spotify.com/artist/6O5zKwY8kFFYhBwZdJ7VKI

Miranda Mulholland

Classically trained on violin and in voice, Miranda is a versatile performer and in high demand as a fiddler and singer covering a wide range of styles. Her debut full length solo album, Whipping Boy, was released in May 2014 to critical acclaim.  It became the flagship of her own record label, Roaring Girl Records which is quickly gaining a reputation for as a home for diverse and excellent artists. She is the founder of a music festival in historic Gravenhurst, Ontario called Sawdust City Music Festival which is now three years old.

Currently she is a member Harrow Fair, a duo with Andrew Penner of Sunparlour Players. She makes select appearances in the violin show, ‘Bowfire’ and her fiddle trio, Belle Starr as well as with Stephen Kellogg and the South West North East Band. She has also sung and played fiddle with Jim Cuddy, Steven Page, Calexico, Joel Plaskett, Rose Cousins, Alan Doyle, Raine Maida, Dan Mangan, John Borra, The Rattlesnake Choir and Justin Rutledge, among others.  Not limited to band performances, Miranda has appeared in various theatre productions including the Dora winning productions of ‘Parfumerie’ and ‘Spoon River’ with Soulpepper Theatre in Toronto.

Website: https://www.mirandamulholland.ca/
Spotify: https://open.spotify.com/artist/25SnqefE8tn1TyqvvivBEb

 

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Panel Preview: Artist Advocates in Action at Folk Alliance International 2019

 

Musician, label owner and music festival founder Miranda Mulholland, in participation with Music Canada, will present a panel discussion at Folk Alliance International 2019 titled Artist Advocates in Action. The panel is scheduled for Saturday, February 16 from 10:00 am to 11:15 am in the Anne Murray Room at Fairmont The Queen Elizabeth Hotel in Montréal.

The discussion will explore various elements of artist advocacy including work / life balance, best practices, and art as an advocacy tool. How can artists best navigate through their careers while advocating for changes to global and local landscapes? What is the personal cost and how can artists maintain their own interests while championing for necessary causes? Moderator Miranda Mulholland will take the panelists – all practicing artists and advocates – through their own experiences, fears, challenges and triumphs. 

The panel will feature the following artist advocates:

Caroline Brooks

Caroline Brooks is a singer-songwriter, session vocalist and guitar player from Toronto. She is one third of critically acclaimed Good Lovelies, a Juno award-winning band that has toured internationally for the last 12 years. They have released 8 albums and their latest single “I See Gold” is up for Song of the Year at the International Folk Music Awards.

Outside of performing, Caroline is a sitting board member with the Mariposa Folk Festival and Muskoka-based advocacy group Safe Quiet Lakes. She and her partner also co-founded Secondhand Sunday, a community re-use and waste reduction program based in Toronto.

Zoë Keating

DIY Cellist and composer Zoë Keating has worked with many artists and productions, including Jeff Russo, Amanda Palmer, Imogen Heap and the podcast Radiolab. Her music has achieved a surprising degree of ubiquity for a DIY artist, from the bumper music to NPR’s Morning Edition to the thinking-music of the Sherlock Holmes character on CBS Elementary to the theme music for the Brazilian telenovela Para Sempre.

A vocal advocate for the rights of creators, Keating was elected a governor of the San Francisco chapter of the Recording Academy named a Young Global Leader by the World Economic Forum and serves on the board of CASH Music, a nonprofit organization that builds open source digital tools for musicians and labels

Aaron Myers

Mr. Myers is a life-long social activist and musician who uses entertainment to increase awareness of social issues. While a full-time college student Mr. Myers ran unsuccessfully for the office of Mayor in Corsicana Texas. In 2008 he served as a field organizer for the Obama campaign in Florida. Mr. Myers is also a skilled volunteer coordinator event manager and public speaker an experienced music teacher and an army veteran. He has also served as National Director of the nonprofit Global Family Program. A jazz and soul musician Mr. Myers is the Resident Artist at Mr. Henry’s Restaurant in DC.

Peter Katz

Over the past decade, Peter has seen his albums debut at #1 on the iTunes singer-songwriter charts; he’s shared the stage and studio with the likes of Academy Award Winner Glen Hansard (Once, The Swell Season), Juno Award-Winners The Good Lovelies, Polaris-Prize nominated Melissa McCelland (Whitehorse) and the Legendary Garth Hudson from The Band. He’s toured all over the world, regularly playing to capacity crowds, and has managed to build an impressive fan-base of loyal listeners, selling over 25,000 copies of his discs mostly from the stage, one show at a time. Never content to sit still for long, Peter Katz has his eyes firmly set on the future.

 

Folk Alliance International is the world’s largest gathering of the folk music industry and community. To attend this panel you must be registered for the conference. Registration also gains you access to conference showcases, and passes can be purchased from the Folk Alliance International website.

 

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Release: Music Canada commits to diversity and equality with changes to governance structure

October 16, 2018, Toronto: Today at Music Canada’s annual industry dialogue and celebration, Playback 2018, President and CEO Graham Henderson announced the results of a year-long comprehensive governance review to ensure organizational excellence and representation at the company. The review has resulted in three concrete actions to promote diversity and equality.

Music Canada’s Board of Directors has approved the addition of two new, independent members who will assume the positions of Director and Chair.  Between them, these women bring to the Board outstanding expertise in corporate governance, finance and accountability, government relations, and general business. This change will improve representation of women on Music Canada’s Board of Directors to 40%.

Music Canada has also adopted a Diversity Policy that will guide the organization in governance decision-making, and Music Canada will constitute an Industry Advisory Group that will provide an inclusive forum to give voice to diverse constituencies in the music industry. The Industry Advisory Group will report to the President & CEO and will provide input into our programs and policies.

“We all have a responsibility, as individuals and organizationally, to align our practices with our values,” says Graham Henderson. “Music Canada and our members are committed to inclusion and equality, but change at the governance level can be the slowest to happen organically. With the changes we’ve announced today, our core values will be reflected at every level of our organization, ensuring balanced decision-making resulting in competitive advantage.”

Music Canada looks forward to announcing more details of its governance review as they become available.

 

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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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IFPI releases Music Consumer Insight Report 2018, highlighting global trends in music listening habits

Today, IFPI released its 2018 Music Consumer Insight Report, an in-depth study of global music listening habits across 20 of the world’s largest music markets, including Canada, among music consumers aged 16-64.

“This year’s Music Consumer Insight Report tells the story of how recorded music is woven into the lives of fans around the world.  As it becomes increasingly accessible, it continues to be embraced across formats, genres and technologies,” said IFPI Chief Executive Frances Moore in a release. “Record companies are working with their partners to sustain and develop these rich and diverse ways in which music is being enjoyed, ensuring that it continues on its exciting journey around the world.”

One of the key highlights from the report is the ubiquity of on-demand streaming. 86% of consumers globally are listening to music through an audio or video on-demand service. 56% of listeners in Canada engage with music through on-demand audio services, just slightly below the global average of 61%.

Within this high usage of on-demand streaming though, it is user-upload services that continue to dominate consumption. The report notes that globally, 47% of time spent listening to on-demand music is on YouTube, compared to 28% on paid audio streaming services and 20% on free audio streaming.

Music piracy also remains a significant issue, as 38% of music consumers reported obtaining music through methods that infringe copyright. 32% of consumers report obtaining music through stream ripping, making it the most dominant form of copyright infringement.

“However, this report also shows the challenges the music community continues to face – both in the form of the evolving threat of digital copyright infringement as well as in the failure to achieve fair compensation from some user-upload services,” said Moore. “Policymakers around the globe have been scrutinising these issues and increasingly acting to address them.”

Recent votes in the United States Senate and European Parliament have added even more urgency for Canadian policymakers to take similar action. Music Canada remains committed to working with the federal government to address the challenges hindering the proper functioning of our music marketplace, and to close the Value Gap in Canada.

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At Standing Committee on Canadian Heritage, Miranda Mulholland illustrates why urgent action to address the Value Gap is needed

Last Thursday, musician, label owner and music festival founder Miranda Mulholland appeared before the Standing Committee on Canadian Heritage’s study of remuneration models for artists and creative industries, where she shared her personal experience as an artist living in the Value Gap.

She began by making Committee members aware that although they may not recognize her, they had most certainly heard her play. “Over the last 19 years, I have played or sung on hundreds of recorded songs on over 50 records including many JUNO Award nominated or winning albums,” she said. “I have done film and television work – you can hear my fiddle playing on every episode of Republic of Doyle and in the film Maudie and on the Good Things Grow in Ontario jingle.”

Mulholland then stated that creators are storytellers and that the story she would tell them today had a beginning, a middle and that she hoped that she and the Committee members would write the end together.

After outlining how she got her start in music, becoming a fiddle player as the digital revolution took off, Mulholland spoke about the Value Gap, and what it has meant to her career.

Mulholland then referenced previous testimonies that the Committee has heard, from artists like Andrew Morrison of the JUNO-nominated group The Jerry Cans, and Music Canada President and CEO Graham Henderson, who both spoke of the disappearance of middle class artists.
Mulholland underscored this point, stating: “The musician middle class is gone – and even the ladder to get there is gone.”

In the middle of her dynamic and authentic presentation, Mulholland proposed four immediately actionable solutions that Committee members could recommend to help improve the framework, which are captured in the video embedded below.


Approaching the end of her story, Mulholland expressed hope that the Committee would help write the ending. Referencing the recent actions that lawmakers in Europe and the United States have taken to help close the Value Gap, Mulholland expressed hope that the Heritage and Industry Committees can work with artists like herself to fix the broken framework and update the laws to reflect artists’ day to day lives.

Her testimony was encapsulated by one of her closing remarks: “Artists have adapted and we need our laws to do the same.”

Mulholland’s dynamic and authentic presentation seemed to truly engage members of the Committee. Following her testimony, Pierre Breton, Member of Parliament for Shefford, Quebec, commented:

Wow, thank you for your excellent presentations. It’s really from the heart, and I would say that you are excellent at explaining the issues – so if there is anyone who had a hard time understanding the scope of the challenge that you’ve been living through, well, now they understand it. Thank you for your testimony – it was exceptional. These are very sensible recommendations in my opinion, and they could be implemented very quickly.

Martin Shields, Member of Parliament for Bow River, Alberta, said:

I think you’re passionate, I think you’re great – but I understand fairness, and what we have is an industry that needs fairness, and we need legislation changed.

During the question and answer portion of the hearing, Breton asked Mulholland which of the recommendations she offered could have a quick impact if enacted by government. Mulholland replied:

Each one would have an immediate effect. The first one, the radio royalty exemption, getting rid of that subsidy – and again, subsidizing – artists are subsidizing the big media conglomerates – that needs to stop. And if that ended, that money would be filtered through into artists pockets immediately.

Same with sound recording … I just played with Alan Doyle on a new kids show that he’s writing the music for… if this was enacted and the sound recording wording was changed, as soon as that is played, I will get paid for my work – so that would help me immediately.

The private copying – that would help immediately as well.

And having a term extension would help me value my work for longer, so I would be able to leverage that if I was talking to a publisher or a label about my catalog. So all four would help me right now.”

Anju Dhillon, Member of Parliament for Dorval — Lachine — LaSalle, asked Mulholland:

In many interviews you’ve done, I noticed that you’re talking about how the Copyright Act is not protecting creators and artists – what concrete changes would you like to see to the Copyright Act so that we can have more fairness and money can be distributed from the distributors to the creators?”

Mulholland replied that right now, she and her creator colleagues are subsidizing billionaires. She told Dhilllon, “the subsidies need to stop – so that would be the radio royalty exemption… it was supposed to be temporary, and it needs to be removed… We just want to have a functioning marketplace.

Following the hearing, Committee members enthusiastically thanked and congratulated Mulholland for her concise and moving testimony.

(l-r) Members of Parliament Randy Boissonnault, Julie Dabrusin, Anju Dhillon and Pierre Breton with Miranda Mulholland

 


Full video of the September 20, 2018, Standing Committee on Canadian Heritage hearing is available on the House of Commons website.

 

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Unanimous U.S. Senate support for Music Modernization Act is further evidence Canada must act to close the Value Gap

Music Canada joins our American counterparts in applauding the United States Senate following its unanimous passage of the Music Modernization Act (MMA) yesterday evening. The MMA, which was broadly supported by music organizations across the United States, is a comprehensive bill that includes the CLASSICS Act, legislation that guarantees artists and labels who recorded music before 1972 a federal right to be paid for those recordings when played by digital radio outlets.

The U.S. music community was united in its support of the MMA, with organizations such as the Recording Industry Association of America, the National Music Publishers Association, ASCAP, SoundExchange, musicFIRST, and the Recording Academy advocating strongly for the bipartisan bill. Thousands of artists spoke up in support of the legislation, including Roseanne Cash and Dionne Warwick, who advocated for the bill in the House of Representatives; Smokey Robinson, who testified at the U.S. Senate; and Maren Morris and Adam Levine, who were vocal supporters of the bill on social media.

“We congratulate all of the artists and advocates who spoke up so passionately in support of the Music Modernization Act. As we saw with the European Parliament vote, governments are listening to creators and recognizing the need to update the legislation that affects their careers,” says Graham Henderson, President and CEO of Music Canada.

“In the past week, we have seen overwhelming support for this type of legislation from Canada’s two largest trading partners, further underlining the need for Canada to follow through with meaningful reforms,” adds Henderson. “Our government has heard from creators – the Value Gap is an urgent issue that must be addressed. It’s now time for our government to seize the opportunity and close the Value Gap in Canada.”

Music Canada has been the leading advocate for addressing the Value Gap in Canada. Our recent report, The Value Gap: Its Origins, Impacts and a Made-in-Canada Approach, examines the Value Gap and its causes, and demonstrates how it impacts artists, businesses and our nation’s cultural foundations, with a particular focus on music. The report includes recommended steps that Canada’s federal government can take today to address the inequities that artists face due to the Value Gap.

Music Canada is encouraged by the progress made in the U.S. and EU, and remains committed to continuing to work with the government of Canada to close the Value Gap here at home.

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Landslide European Copyright Directive vote is a call to action for legislators globally to fix the Value Gap

Music Canada joins our European counterparts in applauding the European Parliament for today’s historic vote on the European Copyright Directive. The vote is a vital step towards ensuring Europe’s creators are paid fairly when their work is consumed online, and provides a strong example for other governments to follow to support their own creators.

“Congratulations to the European Parliament on today’s historic vote to create a framework for creativity to flourish in the digital marketplace. We also need to acknowledge the incredible impact of creator voices to this campaign – thank you to all of the artists who spoke up with such passion and honesty,” says Graham Henderson, President and CEO of Music Canada.

“Today’s landslide vote is a call to action for governments around the world – We must all act with urgency. The Value Gap is a global issue of critical importance to the current and future health of creators and the creative industries. Here in Canada, our Heritage and Industry’s committees have heard loud and clear from creators that the Value Gap threatens Canadian culture and needs to be fixed. These committees have done excellent work so far and they must seize this opportunity. Let’s close the Value Gap NOW!”

In 2017 Music Canada released The Value Gap: Its Origins, Impacts and a Made-in-Canada Approach. The first-of-its-kind report describes the Value Gap as “the significant disparity between the value of creative content that is accessed and enjoyed by consumers, and the revenues that are returned to the people and businesses who create it.” To protect the livelihoods of creators, businesses and cultures, creators and creative groups around the globe have been urging governments to enact legislative changes to ensure creators receive fair compensation for the use of their works.

The European vote comes as the Canadian government is conducting its own review of the Copyright Act. Numerous stakeholders have raised the Value Gap as a key issue at the Standing Committee for Industry, Science and Technology, as well as the Standing Committee on Canadian Heritage’s study on Remuneration Models for Artists and Creative Industries. Additionally, through Focus On Creators, more than 3,700 creators have signed a letter urging the government to place creators at the heart of our country’s cultural policy.

A release from Innovation, Science and Economic Development Canada states that a “well-functioning copyright framework should enable Canada’s creators to take full advantage of the opportunities presented by digital technology, provide a supportive environment for business and investment, and position creators for success in a competitive marketplace.”

Music Canada is committed to continuing to work with the government of Canada throughout the review process to close the Value Gap here at home.

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Polaris Music Prize and Music Canada partner to improve equity and access for the Canadian music community

September 12, 2018, Toronto: Polaris Music Prize and Music Canada have partnered on a new initiative called the Polaris Community Development Program. Launching in advance of the 2018 Polaris Music Prize Gala, the program will partner with 10 Canadian not-for-profit music organizations each year to support and develop the music community by eliminating barriers to access for engaged music creators, entrepreneurs and change makers.

In 2018, each participating organization will receive tickets to the Polaris Music Prize Gala to distribute to individuals who directly impact or participate in the organization’s music programming, courtesy of Music Canada. The program also includes additional opportunities for participants to connect with Polaris staff, Board members and other community members on the night of the Gala.

“Our objective is to provide aspiring music professionals, who normally lack the means or access to music events, an opportunity to participate in the industry and community that Polaris attracts,” says Steve Jordan, Founder and Executive Director of the Polaris Music Prize. “Our hope is that by lifting these barriers we can in a small way help develop diversity in the next generation of music supporters and protectors.”

“Music Canada is committed to challenging the status quo and advancing practical solutions to improve equity and representation in the Canadian music industry,” says Amy Terrill, Executive Vice President of Music Canada and Polaris Board Chair. “Polaris Music Prize, an organization focused on artistic excellence with a history of celebrating diverse sounds and viewpoints, is the perfect host for this program.”

Participating organizations in the 2018 Community Development Program can be found at polarismusicprize.ca/sponsors.

The 2018 Polaris Music Prize Gala takes place on Monday, September 17th at The Carlu in Toronto. Canadian non-profits interested in participating in the 2019 Community Development Program are encouraged to contact Claire Dagenais at claire.dagenais@polarismusicprize.ca.

 

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For more information:
Amanda McCauley – Indoor Recess
amanda@indoorrecess.com 
(905) 926-6440

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

 

About Polaris Music Prize
Polaris Music Prize Inc. is a not-for-profit organization that annually honours and rewards artists who produce Canadian music albums of distinction. A select panel of music critics then judge and award the Prize without regard to musical genre or commercial popularity. For more on the Polaris Music Prize, please visit www.polarismusicprize.ca

About the 2018 Polaris Music Prize Gala
The Polaris Music Prize Gala is produced by CBC Music. This year’s gala is set to take place on Monday, September 17th, 2018 at The Carlu, 444 Yonge Street, 7th Floor. The gala will be webcast live worldwide on CBC Music’s Facebook and YouTube. This year’s host is CBC’s Raina Douris.

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

 

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Le Prix de musique Polaris et Music Canada se donnent la main pour améliorer l’équité et faciliter l’accès à la communauté musicale au Canada

 

Toronto, le 12 septembre 2018 : Le Prix de musique Polaris et Music Canada collaborent à une nouvelle initiative conjointe nommée Programme de développement communautaire Polaris. Lancé avant le gala du Prix de musique Polaris, ce programme s’associera chaque année avec 10 organisations musicales à but non lucratif afin de contribuer au développement de la communauté musicale en éliminant les obstacles qui empêchent les créateurs de musique engagés, les entrepreneurs et les catalyseurs de changement de s’y joindre.

En 2018, Music Canada offrira aux organisations participantes des billets pour le gala du Prix de musique Polaris qu’elles pourront distribuer gratuitement à des personnes qui ont un impact direct sur la programmation du Prix de musique Polaris ou y participent. Le programme fournira également aux participants d’autres occasions d’interagir avec le personnel du Prix de musique Polaris, avec ses administrateurs et avec d’autres membres de la communauté musicale le soir du gala.

« Notre objectif est d’offrir aux jeunes professionnels de la musique qui n’ont pas les moyens ou la possibilité d’assister aux événements musicaux une occasion de se mêler aux représentants de l’industrie et de la communauté musicale que le Prix Polaris attire », a affirmé Steve Jordan, fondateur et directeur exécutif du Prix de musique Polaris. « Notre espoir est que, en éliminant les obstacles, nous puissions contribuer un tant soit peu au développement de la diversité au sein de la prochaine génération des partisans et des protecteurs de la musique. »

« Music Canada est engagée à changer les choses et à avancer des solutions pratiques afin d’améliorer l’équité et la représentation au sein de l’industrie de la musique au Canada », a affirmé Amy Terrill, vice-présidente directrice de Music Canada et présidente du conseil d’administration du Prix de musique Polaris. « Le Prix de musique Polaris, une organisation axée sur l’excellence et habituée à célébrer la diversité des sons et des points de vue, est l’endroit idéal pour ce programme. »

On trouvera la liste des organisations qui participent au Programme de développement communautaire 2018 au polarismusicprize.ca/sponsors.

Le gala du Prix de musique Polaris 2018 aura lieu le 17 septembre au Carlu, à Toronto. Les organismes à but non lucratif canadiens intéressés à participer au Programme de développement communautaire 2019 sont encouragés à contacter Claire Dagenais au claire.dagenais@polarismusicprize.ca.

 

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Pour de plus amples renseignements :
Amanda McCauley – Indoor Recess
amanda@indoorrecess.com
(905) 926-6440

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

 

À propos du Prix de musique Polaris
Le Prix de musique Polaris est une organisation à but non lucratif qui honore et récompense annuellement les artistes ayant créé des albums de musique canadiens de renom. Un groupe sélectionné de critiques musicaux juge et décerne le Prix sans considération pour le genre musical ou la popularité commerciale. Pour en savoir plus sur le Prix de musique Polaris, veuillez vous rendre sur www.polarismusicprize.ca

À propos du gala du Prix de musique Polaris 2018
Le gala du Prix de musique Polaris est une réalisation de CBC Music. L’édition 2018  sera présentée le 17 septembre au Carlu, 444, rue Yonge, 7e étage, à Toronto. Le gala sera diffusé en direct à travers le monde via la page Facebook de CBC Music ainsi que sur YouTube. Il sera animé par Raina Douris, de CBC.

 À propos de Music Canada
Music Canada est une association professionnelle à but non lucratif qui représente les grandes maisons de disques au Canada, notamment Sony Music Entertainment Canada, Universal Music Canada et Warner Music Canada.  Music Canada collabore également avec de nombreux chefs de file de l’industrie musicale indépendante – étiquettes et distributeurs de disques, studios d’enregistrement, lieux de spectacles, promoteurs de concerts, gérants et artistes – pour assurer la promotion et le développement du secteur de la musique.

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VIDEO: 2018 Global Forum panel discussion with Lido Pimienta, Vanessa Reed, Greyson Gritt & TONA, moderated by Samantha Slattery

Titled Inclusivity & Accountability: Bringing Measurable Change for the Music Industry, the 2018 Global Forum at Canadian Music Week brought together, artists, academics and advocates working to make the music industry more reflective of, and accountable to, the wider community.

The event began with a keynote by Dr. Stacy L. Smith, Founder and Director of the the Annenberg Inclusion Initiative, the leading think tank in the world studying issues of diversity and inequality in entertainment through research, advocacy and sponsored projects. Following extensive work in the film and television industries, including pioneering the popular “inclusion rider,” the group is now bringing their renowned work to the music industry. At the Global Forum, Dr. Smith discussed the striking findings of their preliminary music industry study Inclusion in the Recording Studio? Based on the extensive data they have gathered, the group plans to roll out practical solutions “so that the needle will move quickly, so that everyone who has the talent has the ability to participate not only equitably, but in safe work environments, so that they might thrive.”

Following Dr. Smith’s keynote, a diverse panel of artists and advocates discussed initiatives currently underway, and other possible solutions, to improve inclusion across various parts of the music industry. The panel featured Lido Pimienta, Polaris Prize-winning musician, curator and visual artist; JUNO-winning rapper, producer and youth advocate TONA; chief executive of PRS Foundation and the Keychange initiativeVanessa Reed, and; JUNO-winning Quantum Tangle member, producer and solo-artist Greyson Gritt. The discussion was moderated by Samantha Slattery, Chairperson and Founder of Women in Music Canada.

Watch the full panel discussion below.

Quoted

Sometimes, even with the artist community, it feels like there’s a constant tug of war between power and then opportunity. What ends up happening is that the people who are trying to capitalize and obtain the power – I’m going to refer to it as a meritocracy – because the people who are actually in control of things in this industry, especially in Canada, are the ones that are making the decisions. In our communities that we come from, there’s already a lack of opportunity. There’s already an imbalance of education as well, and even job opportunities. When people come in it feels like they’re kind of parachuting in to our communities and not integrating with us the way they need to. And it feels like a photo opportunity. You know, what are you really trying to accomplish as far as integrating artists? Is it more about filling a quota in the stats sheet? Or is it really about pushing the needle with your job description and what you’re doing? – TONA

 

Your point about respect is something that audiences have obviously been talking about a lot now. At least in the UK, we’ve been hearing a lot more from audiences than artists about some of the struggles they have. So, obviously sexual assault of women at festivals, and accessibility for anyone who’s got any kind of disability. There’s some interesting not-for-profit grassroots movements which have really been helping with that. There’s an organization called Attitude is Everything, which has got lots of venues and festivals to sign up to different kinds of charters ensuring that people of all backgrounds can access these brilliant festivals and stages. And then there’s an initiative called Girls Against, which has been working with festivals to start tackling the issue around sexual assaults. But I mean there’s still a long way to go, but it’s interesting that those first steps often come from the grassroots, not-for-profit, voluntary sector, and then it starts to be normalized, and eventually it will become something that hopefully will be part of everyone’s practice. But I think audiences and artists talking about the challenges together could be interesting.  – Vanessa Reed

 

Instead of men having their own conversations and starting their own initiatives and being like ‘yeah we need this too and we’re going to work with women’ it’s often this polarized response, ‘well you want that, but what about us? You shouldn’t have that unless we have it.’ And it ends up being this thing of ‘choose your side’ instead of everyone working together and recognizing you need this and I need this. And so I think about two-spirit people and transgender people, and we need that too, but I don’t want it to be in response to ‘what about me’ and to take resources away from that. I definitely believe women need more representation, always, and I would love to see more things of like 100%. It’s been 100% men for how long? Just to be equitable, you’d almost think it’d need to be 500 years of Indigenous and racialized folks, and women for about another 500 years first, and then we can talk about having half and half, right? – Greyson Gritt

 

Another approach that was just brought to my attention recently as well, and I believe it’s Harris Institute, has consciously hired back female students as professors, and originally it was about four or five years ago he said, there was about 5% female students – so we’re not even getting them into the pipe, it’s not that we’re losing them – and since adjusting his professor dynamic, it has gone up to 20% female students now in a very short period of time, so to your point, I think when people see people that they can relate to doing things that would maybe traditionally be white men doing them, I think it’s really important to be able to showcase everybody being able to do all those things. Just seeing it seems to make a huge impact on people actually following through. – Samantha Slattery

 

The best music right now is being produced by women. It just happens to be the case. The stuff that excites me, I listen to it once and I look at the credits and I look at who’s behind it and it just happens to be a woman. So I wouldn’t even call it that I get out of my way. It just happens. Brilliant women who are in music and in the music industry and in sound and sound engineering are there, and available and ready. And if I’m going to pay anyone, that’s the people that I’m going to pay because it’s just natural to me. It’s not even a question to me. – Lido Pimienta

 

A selection of tweets from event guests is below and photos from the 2018 Global Forum can be viewed on Music Canada’s facebook page.

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