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What was said: Witnesses at Standing Committee on Canadian Heritage’s study of remuneration models for artists and creative industries – May 29, 2018

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On Tuesday, May 29, Music Canada’s President and CEO, Graham Henderson, appeared before the Standing Committee on Canadian Heritage as they heard testimony from witnesses on remuneration models for artists and creative industries. The study is part of the five-year statutory review of the Canadian Copyright Act.

Henderson joined Dominic Trudel, Chief Executive Officer of the Conseil québécois de la musique, and Andrew Morrison of The Jerry Cans for the first session of the day, which took place from 8:45am – 9:45am. An archived audio recording of the meeting is available on the House of Commons website and the full text of Henderson’s testimony has been published on the Music Canada website. The meeting featured testimonies from the three witnesses as well as a Q&A period, where Committee Members posed questions to the witnesses.

A selection of quotes from the meeting is included below. Any translations have been taken directly from the House of Commons audio archive.

Dominic Trudel, Chief Executive Officer of the Conseil québécois de la musique

“The promise of the digital era was that it would eliminate intermediaries in the distribution and production chain and directly link creators to their fans. Others said we would achieve a golden age of stage performances that would supersede the sales of sound recordings as a motor of the industry. All of these promises have not borne fruit and there are still problems in transforming digital content into significant revenue.” – Trudel quoting Guillaume Sirois’ report Le développement de contenus numériques dans le domaine de la musique de concert.

“Although the application of copyright and the payment of royalties in the digital era remain a main issue for the remuneration of musicians, digital change has also had a significant impact on their ability to produce, broadcast and promote music. The pay of creators is therefore affected throughout the process.”

“New methods of consuming music are almost exclusively designed for popular music and are poorly tailored to the realities of classical music. This can impact composers, musicians and a number of different components of the classical domain.”

Andrew Morrison, The Jerry Cans

“We incorporate throat singing and we are very weary now because throat singing is now becoming an internationally-known art form with Tanya Tagaq and her collaborations and with The Jerry Cans and a few other artists. But we wonder how that kind of relates and how that throat singing can be used and how traditional art forms should be protected and should be ensured that they’re compensated when they’re being performed on international scales.”

“Songs that we make and songs that we produce – it’s such a small part of our income generation – and I think that’s because of what’s happening in the copyright world. We’re losing such control and such power over our own music and our own creative forms. And we’re very confused, I think, about what to do about it, cause we feel a bit powerless about where our money’s coming from.”

“I am hopeful that we can figure out a way, because I do think that we’ve toured with some international artists and they see Canada as a very special place and they think that the support for music in this country is very strong and we need to keep it that way. But I also think we need to figure out how to more properly compensate artists for their music specifically, because touring is TIRING as you can see.”

“I do think it’s important to present the artist’s perspective. Sometimes I think that we get lost in the conversations because these things are quite complex and we struggle to understand the world of copyright. I think that there’s lots to be done and when Graham was talking about middle class artists I was like ‘I want to be one of those.’ (laughs) If we had a pie chart out…our revenue, what comes from copyright, is so little now. And that’s young artists. The older generation is telling me of the glory days of getting royalty cheques and I say ‘sweet, what’s that? I’ll buy you a coffee with mine.’ I do think there’s potential to figure it out…”

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Graham Henderson’s testimony at the Standing Committee on Canadian Heritage’s study of Remuneration Models for Artists and Creative Industries

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Earlier today Music Canada’s President and CEO, Graham Henderson, appeared before the Standing Committee on Canadian Heritage to provide testimony on remuneration models for artists and creative industries as part of the Copyright Act review. Below is the full-text of Henderson’s remarks.

 

My name is Graham Henderson, and I am the President and CEO of Music Canada. We are a passionate advocate for music and those who create it.

I am very pleased to see the Heritage Committee studying remuneration models for artists and creative industries. This is an aspect of the music industry ecosystem that I, and Music Canada, have for years been working to modernize. Creating a functioning marketplace where creators receive fair compensation for the use of their works forms the bedrock of our mission.

But the reality for Canadian music creators is there are provisions in our own Copyright Act that prevent them from receiving fair market value for their work.

I believe the best way that this committee can assist in creating a marketplace that is transparent and supports Canadian creators is by providing the government with straightforward, accessible solutions to address the Value Gap.

Music Canada produced a comprehensive report on the Value Gap in Canada which you will find in French and English in front of you.

We define 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.”

Today, more music is consumed than at any time in history. However, the remuneration for that content has not kept pace with the record levels of consumption.

I was pleased to hear Minister Joly recognize this point earlier this year, when she stated:

“The benefits of the digital economy have not been shared equally. Too many creators, journalists, artists have been left behind.”

The origins of the Value Gap extend back more than two decades to a time when countries around the world, including Canada, began adapting and interpreting laws created in another era to protect common carrier telephone companies in the then-dawning digital marketplace.

Around the world those laws understood the internet as a series of “dumb” pipes where your browsing habits were anonymous and the data travelling between sites was so vast it was unknowable. But twenty years later we know the Internet is composed of the “smartest pipes” humankind has ever made.  Your web habits are meticulously tracked and the metadata that it generates is collected, analyzed and sold every second of everyday.

While well-intentioned when they were created, the impact of these laws today is that wealth has been diverted from creators into the pockets of massive digital intermediaries, and what little is left over for creators is concentrated into fewer and fewer hands. As a result, the creative middle class is disappearing, if it hasn’t disappeared already, and with it, numerous jobs and opportunities.

There is no need to point fingers. No one planned for the creative middle class to suffer. The important thing at this juncture is to move forward purposefully and without delay to get the rules right. You should make absolutely certain that Canada’s Copyright Act ensures a creator’s right to be fairly remunerated when their work is commercialized by others.

The foundation of the Value Gap is outdated safe harbour policies and exceptions – all around the world. A safe harbour, by the way, is a way to limit the liability of an intermediary and allow music to be consumed without payment. I know that Ministers Joly and Bains are working on this issue and having conversations with their international counterparts to find a solution to this problem.

But here in Canada, there are particular laws that exacerbate the Value Gap by effectively requiring individual creators to subsidize billion dollar commercial technology companies.  Here are four steps that this committee could recommend immediately that would help creators immediately and harmonize Canadian policy with international standards:

  1. Remove the $1.25 Million Radio Royalty Exemption
    Since 1997, commercial radio stations have been exempted from paying royalties on their first $1.25 million in advertising revenue. It amounts to an $8 million annual cross-industry subsidy paid by artists and their recording industry partners to large, vertically-integrated and highly profitable media companies. Internationally, no other country has a similar subsidy, and the exemption does not apply for songwriter and publisher royalties – meaning that performers and record labels are the only rights holders whose royalties are used to subsidize the commercial radio industry. The exemption is unjustified and should be eliminated.
  2. Amend the Definition of ‘Sound Recording’ in the Copyright Act
    The current definition of a “sound recording” in the Copyright Act excludes performers and record labels from receiving royalties for the use of their work in television and film soundtracks. This exception is unique to television and film soundtracks, and does not apply to composers, songwriters and music publishers. It is inequitable and unjustified, particularly in light of the profound role music plays in soundtracks, and it is costly to artists and record labels, who continue to subsidize those who exploit their recordings to the tune of $55 million per year. The Act should be amended to remove this cross-subsidy.
  3. Amending the term of copyright for musical works
    The term of copyright protection in Canada for the authors of musical works is out of line with international copyright norms. Under the Copyright Act, protection for musical works subsists for the duration of the author’s life plus a further period of 50 years. By contrast, the majority of Canada’s largest trading partners recognize longer copyright terms for musical works, and a general standard of the life of the author plus 70 years has emerged. I note that a vice-chair of this committee, Mr. Van Loan, introduced a Private Members bill on this issue and we thank you for your support.
  4. Private Copying: Renew Support for Music Creators
    The private copying levy, originally intended to be technologically neutral, has been limited by various decisions to media that are effectively obsolete.  This important source of earned income for over 100,000 music creators is now in jeopardy unless the regime is updated. Music creators are asking for the creation of an interim four-year fund of $40 million per year. This will ensure that music creators continue to receive fair compensation for private copies made until a more permanent, long-term solution can be enacted.

Each of these changes removes an unfair subsidy, harmonizes the laws within our industries and brings us to international standards, and they can be done today.

As the creative community anxiously awaited this review of the Copyright Act, an organization called Focus On Creators sent Minister Joly a letter that has now been signed by more than 3,650 Canadian creators.  In that letter, the creators discussed their concerns with the Value Gap and how the Value Gap is causing the middle-class artist to disappear in Canada. The creators’ letter concludes with a message I hope you will take to heart, “We know you understand the cultural significance of our work; we hope you also see its value and crucial place in Canada’s economy. We ask that you put creators at the heart of future policy.”

Thank you.

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Music Canada and Government of Ontario Join Forces to Improve Access to Music Education

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May 2, 2018, Toronto:  In a new program announced today, Music Canada and the Government of Ontario will improve the inventory of musical instruments and access to quality music education in Ontario’s publicly funded schools with the supply of refurbished and recycled musical instruments. The program is made possible through a $3 million investment by the Government of Ontario over a period of three years.

The Honourable Indira Naidoo-Harris, Minister of Education, and Amy Terrill, Executive Vice President, Music Canada made the announcement today at St. Joseph’s College School in Toronto.

“Studying music and art leads to creative and enriching learning experiences,” says Minister Naidoo-Harris. “This innovative program helps students grow and develop a greater sense of well-being. We’re pleased to be working with Music Canada on this important commitment that supports music education and gives students new opportunities to explore.”

“Music education delivers a power pack of benefits, preparing young people for careers, not just in music but in any profession requiring creativity and problem-solving,” says Terrill.  “With top notch instruments we can remove one more obstacle standing in the way of quality music education for all young people no matter where they live or their economic circumstances.”

The Three R’s Music Program/Le Programme musical des trois R will put more instruments in classrooms throughout the province through three stages:  it will rescue damaged instruments from Ontario’s schools or from our communities, restore them to working order, and reunite them with young people.

Music Canada will partner with numerous organizations to enhance delivery of the program including MusiCounts, ArtsCan Circle, the Coalition for Music Education and companies and artists in Ontario’s dynamic music industry.  Stakeholders from the Ontario Fire Service including the Office of the Fire Marshal (OFMEM) and the Ontario Professional Firefighters Association (OPFFA) have also agreed to offer support and outreach into communities and schools in municipalities in every geographic region.

Supporting quotes:

“The Ontario Music Educators’ Association is very pleased that funding will be available to support instrument repairs in Ontario schools.  Instrumental music programs in our province hold a long and rich history and legacy, our instruments are well used and as such, require regular maintenance to keep them in working and playable order for our students.  As instruments age and are used regularly, repairs are required to replace worn pads, springs, strings, adjustments and alignments of necks & fretboards, cracks, bridges, etc.  We welcome this partnership with Music Canada and look forward to sharing the information with our members.” – Tony Leong, President, Ontario Music Educators’ Association

“The very best music and art come from experience and deep listening and through this generous initiative it’s time the Country will have an opportunity to hear these communities.  There are so many powerful creative, artistic voices, and stories in these communities that need to be heard.“  – Mike Stevens, Founder, ArtsCan Circle

“The Coalition for Music Education is pleased to partner with Music Canada in this initiative.  We envision Canada as a country where the lives of all children are enriched by quality music education programs, and where their active participation in music is valued and properly resourced in our communities.  The refurbishment of music instruments in Ontario schools is a huge step forward in achieving this goal.” – Rob Barg, Treasurer, Coalition for Music Education

“MusiCounts is proud to partner with Music Canada on the Three R’s Music Program to help ensure youth have access to quality instruments and music education in their schools.” – Kristy Fletcher, Executive Director, MusiCounts

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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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Music Canada et le gouvernement de l’Ontario se donnent la main pour améliorer l’accès à l’éducation musicale

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Toronto, le 2 mai 2018 :  Grâce à la création d’un nouveau programme dont l’annonce a été faite aujourd’hui, Music Canada et le gouvernement de l’Ontario se donnent les moyens d’enrichir l’inventaire d’instruments de musique et l’accès à une éducation musicale de qualité dans les écoles financées par des fonds publics de l’Ontario en leur fournissant des instruments de musique remis en état et recyclés. Le programme a été rendu possible par un investissement de 3 millions $ du gouvernement de l’Ontario échelonné sur trois ans.

L’honorable Indira Naidoo-Harris, ministre ontarienne de l’Éducation, et Amy Terrill, vice-présidente directrice de Music Canada, ont annoncé la nouvelle aujourd’hui à la St. Joseph’s College School de Toronto.

« L’étude de la musique et des arts permet de vivre des expériences d’apprentissage créatives et enrichissantes ”, a souligné la ministre Naidoo-Harris. « Ce programme innovant aide les étudiants à grandir et à éprouver un sentiment de bien-être accru. Nous sommes heureux de collaborer avec Music Canada à cet important engagement qui soutient l’éducation musicale et donne aux étudiants de nouvelles opportunités d’exploration. »

« L’éducation musicale produit tout un arsenal d’avantages en préparant les jeunes à leur future carrière, et ce, non seulement dans le domaine musical, mais aussi dans n’importe quelle profession exigeant de la créativité et une capacité à résoudre des problèmes », a affirmé Mme Terrill. « La disponibilité d’instruments de musique de premier ordre peut faire tomber un obstacle de plus sur le parcours des jeunes étudiants en musique indépendamment de l’endroit où ils vivent et de leur situation économique. »

Le Programme musical des trois R/The Three R’s Music Program mettra davantage d’instruments de musique dans les salles de classe de partout dans la province grâce à un programme qui se déclinera en trois volets : récupérer les instruments endommagés des écoles ontariennes ou de nos collectivités, les restaurer pour les remettre en bon état de fonctionnement et les réaffecter à une école où les jeunes pourront en profiter.

Music Canada collaborera avec de nombreuses organisations pour faciliter le succès de ce programme, notamment MusiComte, ArtsCan Circle, la Coalition pour l’Éducation en Musique au Canada et les artistes d’une industrie musicale ontarienne en plein essor. Des parties prenantes du Service des incendies de l’Ontario, y compris le Bureau du commissaire des incendies et l’Ontario Professional Firefighters Association (OPFFA), ont également offert de fournir un soutien et des services d’extension aux écoles de l’ensemble des régions géographiques de l’Ontario.

Autres réactions :

« L’Ontario  Music Educators’ Association est très heureuse d’apprendre qu’un financement sera disponible en soutien de la réparation d’instruments de musique dans les écoles ontariennes. L’histoire et le patrimoine des programmes de musique remontent à de nombreuses années dans notre province, et puisque nos instruments sont abondamment utilisés, il faut les entretenir régulièrement afin qu’ils puissent servir plus tard à d’autres étudiants. Lorsque les mêmes instruments vieillissent et continuent à être utilisés, des réparations s’imposent pour remplacer des coussinets, des ressorts et des cordes, rajuster ou remplacer des manches et des chevalets de guitare, etc. Nous accueillons favorablement ce partenariat avec Music Canada et avons hâte d’annoncer la bonne nouvelle à nos membres. » – Tony Leong, président, Ontario Music Educators’ Association

« Les plus belles musiques et les meilleures œuvres d’art sont le fruit de l’expérience et d’une écoute attentive, et cette généreuse initiative permettra enfin à nos compatriotes d’entendre ces collectivités. Ces communautés renferment tellement de voix créatives puissantes, et il faut qu’elles se fassent entendre. » – Mike Stevens, fondateur, ArtsCan Circle

« La Coalition pour l’Éducation en Musique au Canada est heureuse de s’associer à Music Canada dans le cadre de cette initiative. Nous nous représentons le Canada comme un pays où la vie de tous les enfants est enrichie par un programme de musique de qualité et où leur participation active à des activités musicales est appréciée et encouragée grâce à l’existence de ressources suffisantes au niveau communautaire. La remise en état des instruments de musique des écoles ontariennes est un immense pas en avant dans l’accomplissement de cet objectif. » – Rob Barg, trésorier, Coalition pour l’Éducation en Musique au Canada

« MusiCompte est fier de son partenariat avec Music Canada dans le cadre du Programme musical des trois R afin d’aider à assurer que les jeunes aient accès à des instruments de qualité et à une éducation musicale à l’école. » – Kristy Fletcher, directrice générale, MusiCompte.

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Pour de plus amples renseignements :

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

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, promoteurs de concerts, gérants et artistes – pour assurer la promotion et le développement du secteur de la musique.

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Global Music Report 2018 shows industry experiencing growth from subscription streaming, but Value Gap needs to be addressed for long term sustainability

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IFPI today released its anticipated 2018 Global Music Report, providing a state-of-the-industry guide to the top global markets and highlighting industry-wide trends.

While Canada dropped from the sixth to seventh largest music market in the world, the domestic music industry can be encouraged by marked growth in subscription audio streaming, which grew in trade value from USD $95.34 million in 2016 to USD $160.9 million in 2017. This trend has contributed to the first three consecutive years of growth following 15 years of revenue decline.

In Canada, ad-supported streaming declined slightly in 2017, representing USD $16.24 million in trade value, compared to USD $16.59 million in 2016. Video streams represented USD $23.32 million in trade value in 2017, rising from USD $21.56 million in 2016. The total trade value for all types of streaming rose from USD $133.5 million in 2016 to USD $200.4 million in 2017, a 50% increase. This is similar to the global trend where overall streaming revenues grew by 41.1%.

“I’m encouraged by the consecutive years of growth we’re witnessing. But as streaming continues its rise, it’s more important than ever that this business model supports the people making the music,” says Graham Henderson, President and CEO of Music Canada.

“There are still regulations and cross-subsidies in place, in Canada and around the world, intended to get tech companies off the ground,” says Henderson. “These companies, like Google and Facebook, are now some of the world’s wealthiest and have unprecedented control over content online. Music Canada produced a comprehensive report on the Value Gap in Canada, and more than 3,600 Canadian creators have signed the Focus On Creators letter to the Canadian government asking for legislative help. Any future legislation, including the current Copyright Act review, needs to keep the well-being and future of Canadian creators top of mind.”

Frances Moore, Chief Executive of IFPI, also pointed to addressing the Value Gap as a top priority.

“The industry is on a positive path of recovery but it’s very clear that the race is far from won.” Moore explained in an IFPI release. “Record companies are continuing in their efforts to put the industry back onto a stable path and, to that end, we are continuing our campaign to fix the value gap. This is not just essential for music to thrive in today’s global market, but to create the right – fair – environment for it to do so in the future.”

Music Canada’s 2017 report, The Value Gap: Its Origins, Impacts and a Made-In-Canada Approach, proposes a range of practical, forward-looking solutions tailored to Canada’s marketplace, institutions and legal framework.

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Miranda Mulholland calls for action for creators in Washington, DC

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Last week, musician, label owner and prominent creators’ rights advocate Miranda Mulholland was in Washington, DC, for a series of meetings and engagements focused on what can be achieved in a modernized North American Free Trade Agreement (NAFTA) to ensure creators in Canada, Mexico, and the United States have a fair chance at success and receive proper payment for their work.

Miranda Mulholland and Stephen Exell, Vice President for Global Innovation Policy at ITIF

“From all the conversations I had in Washington, what really struck me was just how necessary the artists’ voices are on this issue. Whether Canadian, Mexican or American artists, we share the same need for strong and consistent IP protections. People in Washington are listening. We need to speak up now more than ever,” said Mulholland following the trip.

This was the second occasion that Mulholland, who is becoming increasingly well-know internationally for her advocacy work, has spoken to an American audience. In January of 2018, she participated in the inaugural Artists Rights Summit in Athens, Georgia.

On April 11, Mulholland delivered a speech at an event jointly organized by ACTION for Trade and the Information Technology and Innovation Foundation (ITIF). More than 20 government and industry leaders attended the event which also featured a speech from Stephen Exell, Vice President for Global Innovation Policy at ITIF. Both speakers underlined the importance of strong IP protections and enforcement in NAFTA.

A post-event report by ACTION for Trade noted that “Mulholland spoke about how governments need to adapt policies to fit today’s landscape and protect creators’ work,” in particular that they must consider the “99 percent” of creators who aren’t mainstream superstars.

The day before the ACTION for Trade event, Mulholland visited Capitol Hill where she met with officials and stakeholders to discuss the need for action.

For more information on Mulholland’s advocacy work, visit the advocacy section of her website. You can also watch the full video of her outstanding 2017 speech to the Economic Club of Canada in Ottawa titled “Redefining Success in a Digital Marketplace” below.

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Amy Terrill’s remarks from the JUNOs 2018 Chairman’s Reception

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Minister Joly, Ministers Beare and James, Mayor Robertson, Mark, Allan, industry colleagues and friends, it is my pleasure to speak to you this evening on behalf of Music Canada.

Before I go any further I also want to thank the BC government for its confidence in the music sector and continued investment.  The excitement is palpable.  Amplify BC will produce great dividends for BC communities, artists and the broader ecosystem.  Thank you.

Tonight I’d like to focus my remarks on the idea of challenging the status quo.

And to underline the importance of action – both individual and organizational.

Music Canada is proud to have made a commitment to leadership in our industry by among other things – refusing to do things one way simply because it’s the way it has always been done.

Our board – Shane, Steve and Jeffrey – and our staff team led by Graham are proud of our efforts to embrace and encourage new ideas with a bias towards action.

But don’t just take my word for it.  Let me give you a few examples.

It’s why we did something no one had done before in taking on the issue of Music Cities.

Why in 2011 we began to examine the way municipalities interact with their music communities and how they can grow the music economy for the benefit of the entire city but also specifically for artists and the larger music ecosystem.

Challenging the status quo is why our work resonated and is used on every continent.  It has led a dozen cities in Canada alone to begin the process of developing music strategies – most recently reflected in the exciting announcement yesterday by Mayor Robertson.

 

Our commitment to challenge the status quo also led us to broaden the conversation with provincial governments, stressing the importance of music as a regional economic driver, in addition to a cultural powerhouse.

Our commitment to challenge the status quo is why we won’t give up on our advocacy for quality music education for all young people – no matter where they live, or their family’s income.  There are simply too many benefits.  The focus on STEM – Science – technology- engineering and math – is deficient.  Arts and humanities must be on equal footing.  STEAM should be our goal.

Our commitment to challenge the status quo has also led us to help artists voice their concerns and solutions. It’s why we champion the work of the brilliant artist advocate Miranda Mulholland and encourage creators to get involved in the current copyright review.

And it’s why the theme of our JUNOs participation this weekend is our advocacy support for artists at every stage of their career.

One of the biggest challenges for music creators is the Value Gap. In an era of unprecedented music access and consumption, creators are receiving a fraction of what they should be paid for the use of their music, and a middle class of musicians – the JUNO nominees of today and tomorrow – is in serious jeopardy.

But we don’t have to simply accept the outdated laws that contribute to the Value Gap.

The status quo.

No.  We should all call upon the federal government to address safe harbours and industry cross-subsidies that undermine a viable marketplace.  And we – our friends at SOCAN and other partners – are doing just that.

And finally challenging the status quo is why we’ve begun an organizational review to ensure that we are ready to tackle current issues facing our community and to prioritize the values of inclusion and diversity.  It’s why we have led conversations on these vital topics –  including last year at CMW’s global forum when we focused on indigenous communities – and at our fall meeting – on gender inequality.  We’ll continue the conversation on inclusion and accountability in May at CMW.

Change will not happen naturally. If it did, we wouldn’t be where we are today.  In our industry. Or in society.  We would not be faced with inequality.

We can’t wait for a natural evolution to occur.

Sometimes change needs to be forced even if it’s uncomfortable and each one of us – as individuals – and as organizations have a responsibility to do our share.

So, to all our partners in the room who are also challenging the status quo, whether by diversifying your boards, mentoring and empowering women or other underrepresented groups to have a greater presence in music production or management, or across nominations categories right here at the JUNOs, we stand with you and we support you. To all who understand the contribution of Canadian artists and believe in the power of music to our economy, our culture and our educational system, let’s continue to work together to create the change we all believe in. Thank you.

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Mayor Gregor Robertson shares new details on the Vancouver Music Strategy during JUNOs Week in Vancouver

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Vancouver’s Mayor, Gregor Robertson, announced this morning at the JUNO Host Committee’s Music Cities Forum that the Vancouver Music Strategy will be presented to council in summer of 2018. The strategy has been in development since mid-2016, led by the Vancouver Music City Steering Committee with input from an Advisory Committee.

“There’s no doubt we have enormous potential in music and sound, particularly given the scale of our creative industries,” Robertson told the Music Cities Forum crowd.

In a City of Vancouver release, Robertson expanded on the Strategy’s goals: “Vancouver is home to a growing number of world-class artists who are building a vibrant and diverse music scene in our city. The Vancouver Music Strategy will help our artists to thrive—not just survive—by boosting our creative economy and seizing opportunities to grow our local music industry.”

The Strategy will be informed by two concurrent studies that received support from the BC Music Fund’s Research Program: Music BC’s City of Vancouver Music Ecosystem study, also funded by FACTOR and conducted by Sound Diplomacy, and Music Canada Live’s Economic Impact Assessment of Live Music in BC, facilitated by Nordicity. Both studies are expected to be completed in spring of 2018.

“This is a pivotal time for the City of Vancouver and British Columbia as we look to safeguard the long-term viability of the music sector within the creative economy. Music BC and the [Vancouver] Music City Steering Committee are committed to ensuring that these findings are used to reach our common goals of a vibrant and sustainable industry that will allow our artists and music industry professionals to thrive on the global stage,” said Alex Grigg, Executive Director of Music BC and Co-chair of the Vancouver Music City Steering Committee, in the City release. “This will be a benchmark for Music BC to work with other cities and municipalities across the province to implement like-minded strategies.  Music BC would like to thank the City of Vancouver, the Province of BC, FACTOR and all of our stakeholders for your continued support.”

It is a thrilling day for music in Vancouver and the province of British Columbia, as the Government of BC also announced a new music fund this morning called AMPLIFY BC. The excitement over the two announcements was palpable at the Music Cites Forum.

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British Columbia music community celebrates new music fund, AMPLIFY BC

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Vancouver, March 22, 2018: Music BC and Music Canada today applaud the Government of British Columbia’s announcement of a new music fund for the province called AMPLIFY BC. Administered through Creative BC, the new Fund will provide much-needed support for the development of BC artists and musicians, music companies, skills development and live music production, stimulating economic growth and activity in the sector.

“Music Canada would like to applaud the Government of BC and Minister Beare for this important investment which demonstrates their confidence in the music sector,” says Amy Terrill, Executive Vice President of Music Canada. “The intense interest in the former BC Music Fund’s suite of programs underscores that BC is home to a vibrant, diverse and engaged music community ready to take their songs and businesses to the next level. With this new investment BC will continue to benefit from leveraged private and other government dollars, and ensure the BC music sector remains competitive with other jurisdictions.”

The announcement was made during JUNOs Week, as the Canadian music industry was congregated in Vancouver for the 47th annual JUNO Awards, celebrating excellence in Canadian music while also showcasing Vancouver, and the province’s music sector to the rest of the country.

“This is a great day for the province’s music scene allowing us to build on the momentum of the last two years,” says Alex Grigg, Executive Director of Music BC. “In this time, our industry has focused on helping BC artists develop their careers and showcase their talent around the world, boost business in BC studios, create greater opportunities for live music performances that bolster activity in our communities, and facilitate professional development so that we can build a stronger, more sustainable industry. On behalf of the staff, board of directors and the BC music industry we extend our gratitude to the Government of BC and Minister Beare for their continued support and investment into the BC Music sector.”

Music BC and Music Canada would also like to thank all members of the BC music community who participated in the effort to secure provincial funding and shared their insights, experiences and success stories. The one-year investment of $7.5 million will contribute to BC’s strong and vibrant communities and also benefit BC tourism, arts and creative industries, and small business development.

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For more information:

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

Neesha Hothi, Music BC
nh@neeshcommunications.ca
(604) 715-6057

 

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

About Music BC
Music BC Industry Association is a not for profit association serving the for profit and non-profit music industry, including artists from all genres, industry professionals, service providers, studios, promoters, venues, festivals, producers, agents, managers and educational institutions. For more on Music BC, please visit www.musicbc.org

Categories: Industry News, Music Cities, Music Tourism, News Release, Uncategorized
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Barrie-Simcoe County music strategy envisions nationally-recognized ‘constellation’ of music scenes

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On Wednesday, March 7 at the Five Points Theatre (formerly the Mady Centre for the Performing Arts) in downtown Barrie, Ontario, representatives from CultureCap and Nordicity unveiled the brand-new Barrie-Simcoe County Music Strategy. The Strategy was informed by a recent survey that garnered more than 270 responses from community members across Simcoe County, as well as consultations with local artists, labels, venues, tourism officials and municipal staff from local governments.

Combining various independent data sources, an inventory and map of musical resources in Simcoe County was constructed. 256 music businesses were identified in the County, mostly concentrated in five clusters: Barrie, Midland, Orillia, Wasaga Beach and Collingwood. As such, the Strategy sets a bold vision that “Simcoe County will be nationally-recognized as a constellation of distinct local music scenes committed to artistic ambition” within three years, where its distinct scenes shine brighter when united.

To reach this goal by 2021, the Strategy proposes the following mission for Simcoe County governments and the music community:

  • Build the foundation to support and advocate for music
  • Connect people in the music community, both internally and externally
  • Streamline regulatory pathways
  • Promote accessibility to reasonably-priced rehearsal spaces
  • Tell stories and build an identity to bolster a local star system

42% of the financial activity of music businesses in the County is generated in the summer season, and the Strategy suggests creating a cluster in the live music sector with festivals, venues and artists, and also framing Simcoe County as a place that “lets festivals happen.”

The project is being spearheaded by many local partners: Regional Tourism Organization 7 (RTO7), Simcoe County, the City of Barrie, the City of Orillia, the Town of Collingwood and the Central Ontario Music Council (MusicCO).

To guide the execution of the Strategy, a collaborative organizational structure in which MusicCO acts as a coordinating body of several Local Municipal Music Committees, beginning with Barrie, Orillia and Collingwood, is proposed.

Stay tuned for updates from the project’s partners in the near future as the results of the study and the full Barrie-Simcoe County Music Strategy are officially released.

 

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