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Deane Cameron Announced as President and CEO of The Corporation of Massey Hall and Roy Thomson Hall

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The Corporation of Massey Hall and Roy Thomson Hall has announced that Deane Cameron has been appointed its new President and Chief Executive Officer, effective September 15, 2015.

The respected music industry executive will oversee all aspects of the Corporation’s management. With more than 40 years of experience in the Canadian music industry, including 24 as President and CEO of EMI Music Canada, Cameron has earned a reputation as a stalwart champion of Canadian culture. He has received some of the highest honours in Canada for his contributions to arts and culture, including an appointment to the Order of Canada, the JUNO Awards’ Walt Grealis Special Achievement Award, and the Canadian Country Music Association’s Hank Smith Award of Excellence.

“The Board are excited and pleased to have a person of Deane Cameron’s calibre to lead the Corporation at such an exciting time in our organization’s history,” said Richard Hamm, Chair of the Corporation of Massey Hall and Roy Thomson Hall Board of Governors, in a release. “We have full confidence that Deane will bring meaningful opportunities for audiences and artists alike on behalf of one of Canada’s premiere music and entertainment institutions.”

“I am honoured and thrilled to not only be a part of this iconic music company’s legacy, but to join the impressive momentum within the organization” said Cameron of the appointment. “The team is a creative force in the live entertainment world and this is truly a unique opportunity for me, as a proud Canadian, to explore and support all exciting ways that we can best serve the community through the revitalization of Massey Hall, new program initiatives on all of our stages, and beyond.”

Cameron’s appointment was applauded by artists, industry personnel, and music organizations following the announcement.

“I have had the pleasure of working with Deane for many years, and I could not be more pleased to see such a passionate and proud supporter of Canadian creators assuming the helm at Roy Thomson/Massey Hall,” said Graham Henderson, President and CEO of Music Canada. “Deane’s passion for the promotion and development of Canadian artists is legendary.  From Anne Murray to Serena Ryder, Deane has worked with a galaxy of Canadian artists helping them to make their mark in Canadian music history.  He was not given the Order of Canada for nothing!  His knowledge of every facet of the music industry, gained from his years as President and CEO of EMI Music, will be invaluable as the Corporation continues to grow and reach out to new generations of Canadians.  It is, moreover, immensely gratifying to see that a Canadian has been entrusted with the stewardship of two of our beloved, cultural crown jewels.”

“Since the very early stages of my professional career Deane has supported and encouraged me, and he was there to celebrate with us when I made my headline debut at Massey Hall just over a year ago,” said recording artist Serena Ryder in the release. “Every artist knows that these are among the greatest stages a musician can aspire to anywhere in the world. I congratulate Deane on this announcement on behalf of all artists fortunate enough to work with him and know that music fans everywhere will benefit – because he’s one of us. A true music champion.”

Congratulations to 2011 Walt Grealis Special Achievement Award recipient Deane Cameron on his new gig as the President and CEO of Massey Hall & Roy Thomson Hall!

Posted by The JUNO Awards on Wednesday, September 9, 2015

Deane Cameron is the new president of Massey Hall and Roy Thomson Hall. Deane is a real music man, someone I’ve had the…

Posted by Nicholas Jennings on Tuesday, September 8, 2015

Nice new gig for Deane. The venues will be in great hands.

Posted by Bob Roper on Tuesday, September 8, 2015

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Rita Davies Appointed Chair of the Ontario Arts Council

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The Ontario Arts Council (OAC) has announced that Rita Davies has been appointed Chair of the OAC, following her nomination by the Government of Ontario.

Ms. Davies brings extensive leadership experience in the arts community to the role, having been Executive Director of Culture for the City of Toronto from 1999 through 2012. Prior to that role, she was Executive Director of the Toronto Arts Council from 1984 through 1999. More recently, she launched Cultural Capital, which provides consulting services in cultural planning and policy.

“We are delighted with the appointment of Rita Davies as Chair,” said Peter Caldwell, OAC Director & CEO in a release. “The Chair plays a crucial role at agencies like the Ontario Arts Council. Rita’s extensive and in-depth knowledge of the arts in Ontario, and particularly public funding of the arts, will serve OAC and the arts community very well in the years ahead.”

“I’d like to congratulate Rita on her appointment as Chair,” said Michael Coteau, Minister of Tourism, Culture and Sport. “Over the past few decades, Rita’s efforts to advance the interest of artists and arts organizations in Ontario have led to lasting, tangible change.  The Ontario Arts Council, artists and arts organizations across the province will benefit from the impressive experience, knowledge and passion that she brings to the table.”

“I am thrilled to be given this opportunity to lead the Ontario Arts Council, one of the great cultural institutions of this province,” said Rita Davies in the OAC release. “The OAC makes a difference in the lives of communities large and small and adds to our economic prosperity.  I look forward to working with arts organizations across Ontario.”

 

Music Canada, as well as many other Canadian arts organizations, congratulated both parties on the appointment via social media.

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Music Canada’s Graham Henderson on Toronto Pearson’s Economic Impact

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In a new video, Music Canada President & CEO Graham Henderson speaks about the economic impact of Toronto Pearson, Canada’s largest and busiest airport.

In conjunction with the Economic Impact Study, the Greater Toronto Airports Authority wanted to hear firsthand from those who rely on the airport to keep their business running. In the video, Henderson highlights the impact of Toronto Pearson in supporting Toronto’s music scene and connecting Canadian and international recording artists with global audiences.

“They need access to the world. We no longer live in a world where your market is your home. In order to be a successful recording artist in today’s world, it has to be a global marketplace. Without access to that global marketplace, it’s going to be very, very difficult. Making it easier is essential,” said Henderson. “We have domestic musicians who come from literally every culture in the world. And musicians from literally every culture in the world come here to perform. I don’t think that type of a music scene would have developed and flourished if it was not for an access point like Toronto Pearson.”

The importance of easy access by air travel was highlighted in The Mastering of a Music City, a new report released by Music Canada and IFPI that presents a roadmap that communities of all sizes can follow to realize the full potential of their music economy. The report found easy access via air travel is important in establishing a Music City as a destination for both touring artists and music tourists, and recommends communities consider the importance of international travel when planning for airports and routes.

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Music Canada Street Team Promotes New Music Fridays at the Foo Fighters Concert

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Today, Friday, July 10th, marks the first edition of New Music Fridays, the new global release day for new music. Until now, singles and albums have been released on different days of the week in different countries – Mondays in France and the UK, Tuesdays in Canada and the US, and Fridays in markets like Australia and Germany.

The change to a global release day means that fans around the world can get new music on the same day, rather than waiting for their own national release day. This switch is being implemented by labels, retailers, and artists internationally, and will establish an aligned release day in more than 45 countries.

To promote the switch, the Music Canada street team teamed up with Dine Alone Records’ Wax On Wheels mobile record shop at last night’s sold-out Foo Fighters concert at the Molson Amphitheatre in Toronto. We shared the news of the change with concert-goers and encouraged them to help spread the word by tweeting a photo with the New Music Friday signage.

Wax on Wheels is Dine Alone’s touring record store, which has transformed a simple 16 ft. trailer into a fully functioning record store, complete with an awning-covered patio, free wifi, and a phone charging station for visitors. The store features titles from the Dine Alone back catalogue, rare releases from the archives, and limited releases from the label’s 10 Years Store. Launched this past May, the shop has already transversed the country, going from Vancouver to Halifax on the Red Bull x Dine Alone 10 Year Tour.

This was the second of two back-to-back Foo Fighters concerts at the Amphitheatre, where they thrilled the 16,000 fans in attendance each night with a long string of hits from their 20-year catalogue. The band played nearly three hours each night despite the fact that Grohl was recovering from a broken leg, an injury sustained in a fall from the stage at a concert in Gothenberg, Sweden last month.

Photos from the promotion are available in the album below. For more information on New Music Fridays, visit www.NewMusicFridays.com.

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“New Music Fridays” Go Live as Albums and Singles Switch Over to Global Release Day

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From Friday July 10th, new music releases will be made available for fans to enjoy on the same day across the world, as the switchover is made to “New Music Fridays”.

Until now, tracks and albums have been released on different days of the week in different countries – from Mondays in markets such as France and the UK, through Tuesdays in the US and Canada and to Fridays in markets such as Australia and Germany.

The change means that fans can now get new music on the same day worldwide rather than having to wait for their own national release day. It replaces the patchwork of national release days which meant fans were frustrated and unable to access music in their own country when it was legally available elsewhere.

The switchover to “New Music Fridays” is being implemented by labels, retailers and artists internationally and will establish an aligned global release day in more than 45 countries.

Frances Moore, chief executive of IFPI, said: “The switch to New Music Fridays is about getting new music to fans at the time they most want to enjoy it, whether in physical stores or online. It’s also an opportunity to recreate excitement around the release of music – the message is “Think Friday, Think New Music.”

Fans, industry professionals and anyone else looking for information on the switch to a Friday release day can visit www.newmusicfridays.com which has all the details of the changes taking place.

 

The first “New Music Friday” worldwide

There are several albums being released on the first “New Music Friday” including Years & Years’ Communion (Polydor), Owl City’s Mobile Orchestra (Republic), Little Boots’ Working Girl (Repeat Records), R5’s Sometime Last Night (Disney), Veruca Salt’s Ghost Notes (El Camino) and Kidz Bop’s Kidz Bop 29 (Razor & Tie).

Singles releases in key markets include Little Mix’s Black Magic (Syco) and Nick Jonas’ Chains (Island) in the UK and Taio Cruz’s Do What You Like (Island).

 

A worldwide switchover

“New Music Fridays” will be established in more than 45 recorded music markets worldwide.. Of these, 11 countries already release music on Fridays, while the others will switch the day that new albums and singles become available.

The switch to global “New Music Fridays” has been overseen by an international steering group made up of the following organisations:

  • IFPI, representing some 1,300 record labels worldwide;
  • WIN-Impala, representing independent record labels worldwide;
  • FIM, representing musicians’ unions and associations globally;
  • Featured Artists Coalition representing UK performers;
  • Entertainment Retailers Association (ERA) (UK);
  • Music Biz (US).

 

Consumer research

Independent research suggests that music fans wanted new music to be available at the start of the weekend. Consumer research by TNS across seven markets[1] shows Friday and Saturday as the preferred days for new music release among consumers who expressed an opinion. More than two-thirds of those with a preference (68%) chose Friday or Saturday.

 

Charts move into line

The move to New Music Fridays will also lead to many countries making changes to their charts as well. Public music charts in most countries reflect a week’s sales, so changing the release day to Friday means changing the chart week as well. For example, in the UK the BBC will launch its first Friday chart show, having moved it from Sundays, and in France the TV station D17 will be moving its weekly featuring the latest charts from Tuesday to Friday.

 

Statements on Global Release Day

Kim Bayley, chief executive, Entertainment Retailers Association:

“Retailers and digital services are the ultimate link in the chain between artists and music fans. Having a single worldwide release day reduces customer confusion about when new music is available and focuses everyone’s attention on new releases. Retailers are working hard to implement the change to Fridays and ensure that the advent of New Music Friday is a success.”

 

James Donio, president, Music Business Association (Music Biz)
“The Music Business Association (Music Biz) is committed to working with our members and industry partners in the United States to make a smooth and successful transition to New Music Fridays.”


Frances Moore, Chief Executive of IFPI
“The switch to New Music Fridays is about getting new music to fans at the time they most want to enjoy it, whether that be in physical stores or online. It’s also an opportunity to recreate excitement around the release of music – the message is “Think Friday, Think New Music. The global release day also helps artists, labels and retailers by limiting the time between releases in different countries and thus narrowing the gap on piracy. The move made today has been a great example of cross-sector cooperation, involving labels, artists, retailers and others across more than 45 markets.”

 

Paul Pacifico, chief executive, Featured Artists Coalition (FAC)
“The FAC welcomes any initiative that brings artists and fans closer together and the Global Release Day does just that, making sure that all fans, wherever they are in the world, can get legal access to new tracks as soon as they are released. Making Global Release Day Friday brings the additional excitement of launching major new releases in the run-up to the weekend.”

 

John Smith, president, International Federation of Musicians (FIM)
“FIM fully supports the move to New Music Fridays.  Our industry, our membership and our audiences are increasingly global, and a move to a global release Friday offers an exciting opportunity to release music at a time when people most want to listen to and buy it.”

[1] January 2015 – TNS survey of 7251 consumers across seven markets: Brazil, France, Italy, Malaysia, Spain, Sweden and USA. 4201 consumers expressed an opinion/ preference for a release day.

 

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City of London seeking applications for Music Industry Development Officer position

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The City of London has issued a job posting for a Music Industry Development Officer, working in the City Manager’s Community & Economic Innovation division.

“The Music Industry Development Officer is responsible for working with the Music Industry Resource Committee composed of representatives from: the City of London, Tourism London Inc. and the London Arts Council on implementation of the London Music Strategy,” reads the position’s Summary of Duties. “Specifically, the Music Industry Development Officer works towards advancing the eleven (11) Key Priorities from the London Music Strategy. The advancing of each of these Key Priorities may involve several organizations, including many community partners.”

Tourism London shared news of the job position this past weekend on Twitter:

The position marks another step forward in the London’s Music Strategy, which was developed by London’s Music Industry Development Task Force in 2014. Earlier this month, the strategy was advanced with the announcement that the iconic downtown building at 182 Dundas St., home to Nash Jewellers for nearly a century, would be repurposed to accelerate London’s music sector. The project, dubbed The London Music Division, is proposed to act as a collective centralized resource for the commercial music sector, featuring a Music Incubator, the London Music Hall of Fame, and a future Music Office.

If you are interested in the Music Industry Development Officer position or know someone else who might be interested, please visit https://careers2.hiredesk.net/viewjobs/JobDetail.asp?Comp=CityofLondon&sPERS_ID=&TP_ID=1&JB_ID=&PROJ_ID={C346BDCC-9CA8-4708-9456-9846226C9DF3}&LAN=en-US&BackUrl=ViewJobs/Default.asp for more information.

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Music Canada’s Graham Henderson on “The Mastering of a Music City” at the Canadian Club of Toronto

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Yesterday, Music Canada President & CEO Graham Henderson delivered a speech at the Canadian Club of Toronto on ‘The Mastering of a Music City’, a new report that sets out how cities worldwide can take simple steps to help develop their music economies.

Video from the speech is now available online, courtesy of the Canadian Club of Toronto.

In his speech, Henderson highlighted some of the effective strategies outlined in the report, the benefits of a vibrant music economy, and early reactions to the report.

“There is a growing interest in Music City strategies,” said Henderson, as evidenced by the municipal leaders from around Ontario in attendance, as well as the recent Music Cities Convention in Brighton, UK, which was attended by representatives of 49 cities, as well as the widespread use of Music Canada’s 2012 Austin-Toronto report.

The Austin-Toronto report was cited in places as far away as Sydney, Australia, and adopted by cities like Chicago, explained Henderson. Community leaders in Tampere, Finland, and Kuala Lumpur, as well as throughout Ontario began asking for a road map, said Henderson. In order to satisfy this demand, Music Canada and IFPI set out to study music cities around the world, said Henderson.

In recapping reaction to the report, Henderson cited quotes from Kate Becker, Director of Seattle’s Film and Music Office, who said the Music Cities report is “brilliant and so important to advancing music cities and the music industry overall.” Erin Benjamin, Executive Director of Music Canada Live, called the report “a powerful tool for the live sector especially, to leverage ongoing and future conversations in our cities and towns across the country.”

Henderson also shared a quote from Toronto Mayor John Tory, who said:

“The Mastering of a Music City report reinforces in my mind the real potential of what supporting the music industry can do to transform and grow a real 21st century city. The report will provide the City recommendations on how to support the industry as we work on our aggressive timeline to develop a music strategy in consultation with the music community.”

On the topic of what makes Toronto a great Music City, Henderson cited elements identified in the development of the 4479 Toronto brand: “our city’s unique offering is that we have the most diverse – globally sourced music experience of any city in the world. Period. Our venues, many, like Massey Hall, steeped in music lore, range from intimate to world tour-worthy. Our audience is informed, passionate and open minded. And all of this is housed in this amazing, culturally diverse metropolis.”

On top of that, Toronto is “a city where music leaders and advocates are working alongside municipal leaders to enhance the music economy,” said Henderson. To that point, Henderson citied the City’s recent review of its postering regulations, an issue first raised in Music Canada’s Austin-Toronto report. Henderson then gave a shout out to Mike Tanner, Toronto’s Music Sector Development Officer, and Zaib Shaikh, Toronto’s Commissioner for Film and Entertainment Industries, for their efforts on this file.

Henderson also gave credit to London, Ontario, who recently announced a new music incubator, and Kitchener, who has established Music Works, a world-class ten point plan developed through a grassroots community consultation.

“Ontario communities are in the forefront of work being done to stimulate growth of the commercial music sector,” said Henderson, citing town hall meetings in Barrie, Collingwood, Guelph, Hamilton, Kingston, Kitchener, London, Peterborough, St. Catharines, Toronto and Windsor. The Government of Ontario has fostered these initiatives through the Live Music Strategy, said Henderson, which is intended to make Ontario a global destination for music tourism.

Henderson then went through some of the effective strategies identified in the report.

“Artists and musicians are undoubtedly the heart of a music city,” said Henderson, recapping a discussion with artist Miranda Mulholland, who said “it’s one thing to be music-friendly; let’s make sure it’s also musician-friendly.”

To this point, “you only need to look at the current musical landscape to understand why this piece is so critical today,” said Henderson, citing a study from the Canadian Independent Music Association, which found the average annual income of a musician is $7,000.

“In this environment, affordability becomes increasing crucial,” said Henderson. The Music Cities report provides recommendations on musician-friendly policies that cities like Austin are exploring to find a solution for artists’ growing costs of living.

Henderson also discussed the range of “music-friendly” policies outlined in the report, such as loading zones for musicians, progressive planning laws, and transportation or transit that facilitate access to venues for fans.

Most important for a music city is the establishment of a music advisory council, said Henderson, which creates the opportunity for two-way dialogue between the city, the music community, and other interested groups like tourism or BIAs.

On the topic of music tourism, Henderson cited Austin, Memphis, and Nashville as beneficiaries of an effective music tourism plan. Music provides one of the most compelling tourism products, said Henderson, calling it a “24 hour a day, 7 days a week, 52 weeks a year opportunity.”

“Music tourism packs a punch,” said Henderson, noting that tourism is the largest employer of young people in the province. “It generates millions of dollars in concert and festival tickets, merchandise, hotels and restaurants – it creates jobs at all these businesses – and builds a city’s global brand.”

On the topic of why a city would want to grow its music economy, Henderson cited social and cultural benefits, as well as the unifying aspect of music, which is outlined in the report with examples from South Africa and Finland.

Henderson also outlined the tangible financial benefits of music, such as job creation, investment attraction, and dollars spent in the community. Examples from the Music Cities report include:

  • In Melbourne, live music alone generates over 116,000 jobs and more than $1 billion in spending at small venues, concerts, and festivals;
  • Music tourism in Austin accounts for almost half of their $1.6 billion economic output and contributes $38 million in tax revenue to the city
  • In 2013, the music industry helped to create and sustain more than 56,000 jobs within the Nashville area, supported more than $3.2billion of annual labour income, and contributed $5.5billion to the local economy.

While Toronto is cited throughout the report in terms of initiatives that could be emulated in other cities, Henderson also outlined some recommendations from other cities that could be adopted here, such as:

  • affordable housing for musicians as well as, additional training and professional development;
  • a plan to address the compliance issues that crop up on a frequent basis; and,
  • land use planning that takes into account culturally significant zones.

In addition, Toronto should develop:

  • An inventory of existing venues, recording studios, etc. in order to identify gaps; and,
  • A music hub or accelerator.

Henderson closed with another portion of Mayor John Tory’s reaction to the report, as an example of Toronto’s commitment to developing music and music-friendly policies.

“As City Hall pursues its vigorous agenda in supporting Toronto’s music sector, we look to sector leaders like Music Canada to continue their invaluable work in elevating and solidifying Toronto’s position as a world-leading music city. It is partnerships between the City and the music industry that will ensure Toronto becomes a thriving music city.” – Toronto Mayor John Tory

The full report is now available, and we welcome music leaders and advocates to utilize the recommendations – because the global music community only stands to gain if music-friendly, musician-friendly cities dot the globe.

 

Many in the audience tweeted highlights from the speech; below is some of the social media reaction:

@music_canada honcho Graham Henderson speaking about the The Mastering Of A Music City report. Impressive, as usual.

A photo posted by Stephen Coady (@commandercoady) on

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“New Music Fridays” Are Coming: Global Release Day Launches July 10th

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For music fans across the world, Fridays are set to become the day for newly-released music.

July 10th, 2015, will see the introduction of “New Music Fridays”, an aligned global release day for new music. The move, implemented by labels, retailers and artists internationally, means that fans in many countries will no longer have to wait for days to get access to newly-released tracks and albums.

Up until now, music has been released on different days of the week in various countries – from Mondays in markets such as France and the UK, through Tuesdays in the US and Canada and to Fridays in markets such as Australia and Germany. That will change on July 10th when new music will be released on Fridays at 00:01 local time around the world.

The move will mean fans can now get new music on the same day worldwide rather than having to wait for their own national release day. It puts an end to fans being unable to access music in their own country when it is legally available elsewhere, and the frustration that can cause.

Think new music…Think Friday

“New Music Fridays” are an opportunity for artists and labels to maximize awareness of newly-released music. Whatever country they are in, fans will now know – Friday is not just the start of the weekend – it’s the day for new music. This can help create more excitement and a sense of occasion around the release of new albums and singles.

With just one month to go before “New Music Fridays” takes effect, today sees the unveiling of the ‘New Music Fridays’ brand that will accompany the move. It will be available in more than 10 leading languages worldwide.

Consumers looking for information on the switch to a Friday release day can visit www.newmusicfridays.com which has all the details of the changes taking place.

Switchover plan

The preparations for the switchover to “New Music Fridays” have involved record companies, distributors and retailers working together to reconfigure their supply chains and marketing practices. At the same time, music charts in individual countries are changing so that they align with the new international release day.

The move to “New Music Fridays” will take place in more than 45 recorded music markets worldwide.. Of these, only 11 countries currently release music on Fridays, while the others will switch the day that new albums and singles become available.

The switch to global “New Music Fridays” has been overseen by an international steering group made up of the following organizations:

  • IFPI, representing some 1,300 record labels worldwide;
  • WIN-Impala, representing independent record labels worldwide
  • FIM, representing musicians’ unions and associations globally
  • Featured Artists Coalition representing UK performers;
  • Entertainment Retailers Association (ERA) (UK),
  • Music Biz (US)

For further information on “New Music Fridays”, see our overview page or go to www.newmusicfridays.com.

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The Sheepdogs & MusiCounts Celebrate Funds Raised for Niagara-area School Music Programs through Hockey Night in St. Catharines

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Yesterday in St. Catharines, MusiCounts held a Band-Aid Celebration event at the DSBN Academy, which featured a special performance by three-time JUNO Award winners The Sheepdogs. The event was celebrating the $30,000 raised for MusiCounts through Hockey Night in St. Catharines 2014, supported by Music Canada and Partridge Wealth Management. DSBN Academy was one of three Niagara-area schools to receive $10,000 worth of instruments through MusiCounts’ Band-Aid Grant program, which has granted $595,000 worth of in musical instruments to 69 schools across Canada this year.

Local MP and Parliamentary Secretary to the Minister of Heritage Rick Dykstra is the organizer of Hockey Night in St. Catharines, and was on hand to speak to the importance of music education and the impact that music can have in a community.

“Every year I have been amazed at the success of Hockey Night in St. Catharines and through United Way of St. Catharines and District, how we have been able to help fund vital programs for the disadvantaged in our community. But what is happening here today is pure magic,” said Dykstra. “Getting instruments into the hands of young people and giving them the gift of music is something that will enrich them all of their lives. I cannot thank MusiCounts, Music Canada and Partridge Wealth Management enough for helping all of this come together and I especially want to thank Ewan and Shamus Currie of The Sheepdogs for taking time out of their schedules to be with us on this very special day.”

During their performance, The Sheepdogs’ Ewan and Shamus Currie spoke of their own experience with music education growing up, and offered some advice to students at DBSN.

“Obviously music is a great opportunity, whether it’s a job or just a really awesome pastime or hobby,” said Ewan in an interview with Cogeco News. “I just want them to realize that maybe it seems difficult and a bit structured at first when you’re learning scales, and starting off with the basic building blocks, but it’s really a pathway that leads you to a lot of enjoyment and a really cool way to spend your time.”

Music Canada and our members Sony Music Entertainment Canada, Universal Music Canada, and Warner Music Canada are proud supporters of the Band Aid Grant program. This is the third year of Music Canada’s partnership with MusiCounts, following a 2012 pledge of $250,000 over the next three years, which supports music education programs in schools in across the country.

Music education is a key priority of Music Canada as one of our five strategies in The Next Big Bang report, which recommends that given the strong evidence that music education prepares workers who are more creative, better problem-solvers, and possess soft skills that are critical in the digital economy, as well as the correlation between music scenes and tech clusters, governments should invest more in music education and should consider music scenes as a tool for economic development.

For more on the event, see coverage from TV Cogeco Niagara, Newstalk 610’s Larry Fedoruk Show, and the St. Catharines Standard, and the social media highlights below.

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Global Forum 2015: The Survival of the Creative Class

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The Global Forum at Canadian Music Week has earned a reputation as a hub for insightful commentary on issues pertinent to creators and the creatives industries. In recent years, the Global Forum has discussed grassroots advocacy with Blake Morgan, brand supported piracy with David Lowery, Chris Ruen, and Chris Castle, strategies for eliminating the digital theft of cultural content with Robert Levine and Dr. Brett Danaher, and how corporations enable digital theft with filmmaker Ellen Seidler. Music Canada is proud to return as a sponsor of the Global Forum, which features a compelling group of panelists for the 2015 edition.

For ten years or more we have heard about the importance of the creative class: that it is essential to the growth and success of businesses, as well as cities and regions. Cities that don’t attract the creative class, apparently fail.

But have we forgotten the fundamental elements of survival? Attracting the creative class is one thing but its members must be able to afford to work in their fields.

Scott Timberg is one of a growing number of people who say the creative economy is broken. According to Timberg, it is virtually impossible for creative artists from musicians to filmmakers, to journalists and book sellers, to earn a living. And the impacts are far-reaching.

Zoë Keating has experience trying to make a living as a full-time musician. A Canadian cellist, Keating didn’t set out to become an artist advocate but was thrust into the spotlight when she refused to back down against one of the largest intermediaries of music, YouTube, over her right to control how and when her music is distributed.

Blake Morgan is no reluctant advocate and since his appearance at The Global Forum in 2014, has seen his I Respect Music campaign log a major success with the recent introduction of bipartisan legislation in the U.S. to ensure artists are fairly paid on digital services and AM/FM radio.
Is survival of the creative class at risk? Has the artist middle class disappeared?
If so, at what cost? And what can we do about it?

Kate Taylor, a columnist with The Globe and Mail and frequent writer on technology, the media and music, will lead the panel in an hour-long discussion. The panel will be followed by moderated table discussions on potential solutions.

Update: video from the panel is now available online, and is embedded below.

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