Music Canada

Gold/Platinum

Join Mailing List

Music Canada

Gold/Platinum

 Music Canada

Posts by Quentin Burgess (167)

view

Top Ten (11) Things You Need to Develop a Music City

What does it take to become a Music City?  This question has occupied people on every continent over the last several years since the publication of The Mastering of a Music City by Music Canada.  Elected leaders, municipal officials, music community advocates and business leaders from a variety of towns, regions and cities, have been enticed by the idea of a vibrant music economy with its promised economic, social and cultural benefits.

Just the past weekend, over 30 cities sent teams to the Responsible Hospitality Institute’s (RHI) convening on sociable cities where Music Canada’s Executive Vice President, Amy Terrill, was asked to identify the top ten things cities need to develop a Music City.

RHI’s approach to sociable cities builds on a foundation of four key elements:  Form an Alliance, Plan for People, Assure Safety and Enhance Vibrancy with music falling into the final category.

Joining an international faculty of thought leaders, Terrill presented the following top 10 list (with a bonus number 11) for cities looking to develop as a Music City.

  1. Driver – there needs to be an individual or organization which has influence in your community that is passionately committed to this effort and is willing to resolutely move it forward. This may be a music organization or a leader in the music community; it may be a politician or the head of a city agency.  There will be many others needed to fill out the band, but there must be someone on lead vocals who can command respect and understands both music and municipal politics.
  2. Music Community engagement – it’s important the music community is fully engaged from the beginning of the process. Without their broad support, your program will likely lack authenticity and not succeed. Who will build trust in the music community and help overcome any skepticism about involvement from City Hall?  Who will organize the music community around the mission?  Who will keep the program rooted in what makes your city’s music scene unique?  Furthermore, representation from a broad cross-section of the community is critical to ensuring the program doesn’t become mired in industry politics.
  3. Champions – champions will be needed from many corners – city staff, and leaders of allied agencies like tourism, economic development, downtown business associations, chambers of commerce – people who understand what you’re trying to do and will rally support from their networks. Identify key stakeholders, as they will likely become important influencers and add legitimacy to your policy efforts.  We find impassioned music fans in all walks of life and often some of your key stakeholders will fall into this category.
  4. Political leadership – if your driver is not already in the Mayor’s office, then you will need to find a political champion. The support of a Mayor and members of City Council will be necessary when, inevitably, matters come to a vote before them.  In addition, political direction is paramount to motivating, or giving city staff the necessary reassurance, to add programs, change the ways things have always been done, or free up scarce city resources.
  5. Catalyst – it certainly helps to have a catalyst. Perhaps it’s a major music event or the opportunity to host one.  The annual JUNO Awards (Canada’s version of the Grammy’s) has been an effective catalyst for several host communities.  It might also be an election, a public policy consultation or even a crisis.  Any one of these things can provide the urgency needed to inspire people to take risks, do things differently and make the investment of time, creativity and resources that’s required.
  6. Validation – tap into best practices from other cities and the active network of advocates, policy makers, artists, municipal leaders which is leading the way in this work. Validation from other cities will make your job a lot easier and can be critical in convincing otherwise skeptical city leaders. It also enables you to identify key factors for success, and ensure that these aspects are incorporated into your own planning process.
  7. Understanding your strengths and weaknesses – measure your city against the essential elements of a Music City defined in The Mastering of a Music City as:
      1. Artists and musicians;
      2. Music ecosystem (professionals and businesses who support artists in their careers);
      3. Spaces and places (education, rehearsal, recording);
      4. Thriving music scene (venue ladder, all ages etc);
      5. Receptive and engaged audience.

You will not have 100% of all of these elements covered when you begin, but you need to know what your strengths and weaknesses are in these fundamental components.

  1. Strategy Development – ultimately you want to develop a music strategy for your community. Common strategies can be found in The Mastering of a Music City but while we can learn from other cities, there is no cookie-cutter approach.  Your strategy should be based on the unique aspects of your community.  Avoid the tendency to want to be all things to all people, or to try to do everything at once.  Begin with short term opportunities that will likely bear fruit quickly.  That will provide you with those early wins that will enable you to build momentum and amass allies. But it is also important to identify medium and long-term goals, as these enable you to design your policy and programming with the goal of sustainability.
  2. Clear roles and responsibilities – clarity about who is responsible for such things as strategy implementation and communication is essential for success. You will most likely involve volunteers on committees or advisory boards, as well as paid city staff or agency staff.  Ensure all participants are clear from the beginning about their roles.  Such things as committee terms of reference, job descriptions, and communication policies can be helpful.
  3. Succession Planning – while a successful program may benefit from the passion or expertise of individuals, in order to ensure longevity, you need to consider succession planning from the start.
  4. Patience – invariably this initiative will take longer to bear fruit than you expected. Bureaucracy can be slow to change; individuals and organizations can be heavily entrenched in doing things a certain way; and, there will be unexpected obstacles that deter you from your path.  Be patient and acknowledge each minor achievement along the way.

“It was a privilege to be part of the Sociable City Summit,” says Terrill.  “I was particularly impressed by the diversity of city representation with elected officials, city staff, downtown business leaders, law enforcement agencies, universities, venue operators, architects and other professionals coming together for conversations about the nighttime economy.”

Comments
view

CARAS announces that London, Ontario, will host the 2019 JUNO Awards

The Canadian Academy of Recording Arts and Sciences (CARAS) announced today that London will host the 2019 JUNO Awards, as well as all the JUNO Week events, from March 11 through March 19, 2019. JUNO Week 2019 is supported by the Province of Ontario, the City of London, Tourism London, and the 2019 Host Committee.

“We’re excited to be bringing the 2019 JUNOS to London. This city has seen incredible growth with its music scene and as such, is the perfect platform to celebrate Canadian talent,” said Allan Reid, President & CEO, CARAS/The JUNO Awards and MusiCounts. “We want to thank the Government of Ontario for their support in bringing the JUNOS back to Ontario. We look forward to supporting and showcasing the city’s diverse music scene.”

While this marks the first time that London has hosted Canada’s music awards, the Forest City is well-positioned to deliver strong results as host of the JUNO Awards, thanks to several years of steady progress on music-friendly policies and programs via the London Music Strategy. In recent years, London has hosted an incredibly successful Country Music Week and CCMA Awards; completed its first ever music census;  taken steps to modernize noise bylaws for music and dancing on outdoor patios; and hosted its first Music Career Day. In recognition of these efforts, Music Canada presented London’s Music Industry Development Officer, Cory Crossman, and Chris Campbell, Director of Culture and Entertainment Tourism at Tourism London, with our 2017 President’s Award for their incredible commitment to making London a Music City.

“We are thrilled to host the 2019 JUNO Week celebrations here in London. As one of Canada’s emerging cultural scenes we are excited to show the world how culturally rich and diverse London is,” said Chris Campbell. “The JUNO Awards is London’s opportunity to bring artists and music fans to our great city to showcase our hospitality and our growing music scene and we could not be happier to be the 2019 Host City.”

JUNO Week 2019 is expected to drive approximately $10 million in economic impact in London, a figure which is consistent with results in previous host cities. The CARAS release states that since the JUNOS began touring across Canada in 2002, the awards have driven more than $120 million in economic impact.

“Ontario is a key music hub in Canada and North America,” said Daiene Vernile, Ontario’s Minister of Tourism, Culture and Sport. “Our vibrant culture is driven by our exceptional talent and diversity, making Ontario a great fit for hosting the JUNO Awards in 2019. We have a thriving music industry that makes a significant contribution to Ontario’s economy by creating jobs, generating sales and building the province’s profile at an international level. I am thrilled to welcome the JUNOS to London.”

The 48th Annual JUNO Awards will be broadcast live on CBC from Budweiser Gardens, on Sunday, March 17, 2019.

Comments
view

Music Canada applauds Ministers Bains and Joly for initiating the statutory review of Copyright Act

Toronto, Dec 13, 2017: Music Canada applauds today’s announcement by The Honourable Navdeep Bains, Minister of Innovation, Science and Economic Development, in conjunction with The Honourable Mélanie Joly, Minister of Canadian Heritage, regarding the review of the Copyright Act, to be conducted by the Standing Committee on Industry, Science and Technology.

“I applaud Minister Bains and Minister Joly for initiating this review of the Copyright Act,” says Graham Henderson, President and CEO of Music Canada. “Music creators, and all creators who depend on copyright, deserve a Copyright Act that protects their rights when their works are commercialized by others. This is our chance to address the Value Gap threatening the livelihood of Canadian creators and the future of Canadian culture.”

Music Canada recently examined the significant changes in business models that are impacting the value chains for copyrighted content in our report, The Value Gap: Its Origins, Impacts and a Made-in-Canada Approach.

“A modern copyright framework containing strong IP and copyright provisions is essential for an effective marketplace for music creators,” says Artist Advocate Miranda Mulholland. “This Copyright Act review is an important first step in ensuring artists and labels are able to earn a fair market value for their work. Canadian creators have been eagerly awaiting this review.”

Music Canada looks forward to participating in the process to ensure that creators are fairly compensated for the use of their works under the revised Act.

Adds Henderson, “We must ensure this review yields meaningful results.”

-30-


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. For more on Music Canada, please visit www.musiccanada.com

Comments
view

Miranda Mulholland brings crucial message to Ottawa in ‘Redefining Success in a Digital Marketplace’ speech

On Nov. 22, Miranda Mulholland brought an important and timely message to Ottawa as she delivered a keynote speech at the Economic Club of Canada. In addition to her credentials as a talented artist and entrepreneur, Mulholland has emerged as a trailblazer in the global artists’ rights movement: in May, she became the first creator to deliver a keynote address at the Economic Club of Canada, and recently spearheaded a letter co-signed by 100 fellow artists on recommendations for a reformed Copyright Board of Canada.

Mulholland’s keynote topic was “Redefining Success in a Digital Marketplace.” Her speech highlighted the challenges for artists working in today’s digital age and proposed solutions to help create a more balanced music ecosystem in which creators can earn a living.

Mulholland’s speech was followed by a panel discussion with representatives from different cultural industries, who discussed how the digital marketplace has affected their industries and their individual careers. The panel, which was moderated by Vassy Kapelos, Global National’s Ottawa Bureau Chief and host of The West Block, included:

Video of the keynote and panel is now available online, and embedded below. The event was attended by many artists and Ottawa music industry members, as well as MPs Gord Brown, Julie Dabrusin, and Pierre Nantel, who are members of the All Party Music Caucus. A selection of photos and social media posts from event is included at the end of this post.

Mulholland began by observing “an extremely important anniversary in the lives of all creators” – the date the Copyright Modernization Act came into force, just over 5 years ago. Although Mulholland referred to the Act as a “landmark”, she acknowledged that it wasn’t perfect and “probably created as many problems for creators as it solved.” Fortunately, the legislation included a specific provision that mandates a review of the Act, 5 years to the day that it came into force. Unfortunately, that date passed two weeks ago, and creators are still waiting for the review to begin.

“I find this disappointing,” said Mulholland. She then spoke about her path to advocacy, referencing two conversations with Heritage Minister Mélanie Joly, who told her “artists need to speak up” in the government’s “Canadian Content in a Digital World” consultations. Those conversations led directly to the founding of Focus On Creators, a coalition of more than 3,500 Canadian creators asking the government to put creators at the heart of future policy. Speaking of her previous speech at the Economic Club, Mulholland thanked MP Julie Dabrusin for raising some of the issues her keynote addressed in a meeting of the Standing Committee on Canadian Heritage. After noting that she is aware of the government’s increased funding for grants and export, Mulholland reiterated her call for a market that properly values their work: “the main message of creators, and what we’re trying to say, is that we want a functioning marketplace right here at home. We are here, and we’re speaking up. We’d love to be heard.”

After a brief recap of her artistic bona fides – violin training since age 4; studying Opera Performance at Western and McGill Universities; founding a record label and festival; performing as a member of Harrow Fair, Great Lake Swimmers, and performing on hundreds of recordings by artists such as Cowboy Junkies, Donovan Woods and Rose Cousins, as well as film & television work including CBC’s Republic of Doyle and the film Maudie; a member of the Soulpepper Theatre Company and the Board of Governors of Massey/Roy Thomson Hall – Mulholland acknowledged that she has a serious problem: “My problem is that because of this Broken Promise of a Golden Age, I’m barely able to make a living.”

Mulholland explained that when sharing her concerns with policymakers, the response that she is often given “is that creators are asking for the clock to be turned back… but that is not what we want. However, we do need to look back at the policies and promises that were made in the late 90s, and recognize that times have changed. My MySpace page doesn’t work anymore. If anything, we’d like to turn the clock forward and rethink some of these ideas and assumptions that have turned out to be false and predictions that have sadly not come to pass.”

After outlining some of the challenges that today’s artists face, including financial hardship and an increasing number of middlemen involved in distributing her music and collecting revenues, Mulholland pivoted from the solution often offered to creators expressing their concerns (“adapt”) to a key theme of her speech: Accountability.

“Let’s look at the current situation and who is accountable for the devaluation to which we are forced to adapt,” said Mulholland. “Accountability means acknowledging value and compensating for it.”

Mulholland called for accountability from digital services like YouTube, and showed why the often-proposed solution of live touring is not a panacea, or even feasible for many artists. Turning to solutions, Mulholland referred a pamphlet distributed with advocacy infographics, which are available on her website. Explaining that we all have a role to play in improving the music ecosystem, Mulholland identified steps that artists, consumers, industry members, and government can take to help ameliorate the current situation.

Mulholland urged the government to end tech company safe harbours: “The European Commission has now acknowledged that the market isn’t functioning properly, and they have identified and accepted the problem as the unintended Value Gap, and agreed that legal clarification is needed. Can we follow suit?”

She also called on the government to end other industry cross-subsidies, such as the Radio Royalty Exemption, “an industry cross-subsidy given to every commercial radio station in Canada, exempting them from paying more than $100 in royalties to artists and record labels on their first $1.25 million in advertising revenue,” said Mulholland. “The Exemption was introduced as a political compromise in the 1997 amendments to the Copyright Act, but it is now outdated and unjustified – if it ever was justified. It is really not right that artists and labels continue to subsidize these large media companies. I am subsidizing Bell.”

Mulholland then highlighted that due to the definition of sound recordings in the Copyright Act, recorded music is actually not considered a ‘sound recording’ (and thus not entitled to royalties) when it is included in a TV or film soundtrack. “This affects me greatly,” said Mulholland, “because for example, even though I played on almost every episode of CBC’s Republic of Doyle, which is now syndicated worldwide, I only received the one-time union rate I got per session, which was around $280, while the composer collects residuals every time that show airs. 44 countries around the world – the UK, France and Australia among them – afford performers and record labels the right to receive public performance royalties when their sound recordings are used as a part of a soundtrack in TV and film.”

Mulholland closed by stating “a culture of permission-less innovation” is what led to the current situation. With that, she referenced another anniversary – the two hundredth anniversary of Frankenstein. “Mary Shelley wrote this classic after witnessing the disastrous consequences of her industrial revolution,” said Mulholland. “The moral of her story is that monsters are created when the only question being asked is ‘Can I?’

We know what’s it has done to the livelihood of creators – it’s produced the Value Gap, and that is our monster.”

 

Had an amazing time at the Economic Club of Canada panel talking about the music business and what is means to be an…

Posted by Jessica Pearson and the East Wind on Wednesday, November 22, 2017

I had the wonderful opportunity of seeing Miranda Mulholland present this speech yesterday at the Economic Club of…

Posted by Maddy O'Regan on Thursday, November 23, 2017

https://www.facebook.com/CodyCoyoteMusic/photos/a.800580609984552.1073741825.103537669688853/1879309895444946/?type=3

Feeling empowered after gaining some knowledge from a very introspective panel discussion on the music industry and…

Posted by Kimberly Sunstrum on Wednesday, November 22, 2017

Comments
view

Miranda Mulholland to deliver keynote speech on ‘Redefining Success in a Digital Marketplace’ in Ottawa

On November 22nd, artist and entrepreneur Miranda Mulholland will deliver a keynote on “Redefining Success in a Digital Marketplace” at an Economic Club of Canada event at the Westin Ottawa.

The event description reads:

“Music unites us, bridges linguistic, cultural and income divides. Music heals. It connects. It provides a soundtrack to our greatest struggles and our highest triumphs.

Since the arrival of the digital age, music is more readily created, released and shared. It is available at our fingertips and it’s reaching more people than ever before.

With music’s intrinsic value in our lives and this new accessibility, one would expect that the people who create this unifying force would be thriving. There is a widely held perception that the advent of the digital revolution has enhanced how music is created, money is made and creators’ lives are lived. There is a perception of a level playing field. But it’s time for a reality check.

Join Artist and Entrepreneur, Miranda Mulholland as she talks about the creative process, reveals actual numbers, discusses how creators are faring in this new landscape and suggests a way forward.”

Following Mulholland’s speech, a panel of creators and representatives from various cultural industries will discuss how the digital marketplace has affected their industry and their own careers. The panel will include:

  • Alan Frew – Songwriter, Public Speaker & Author
  • Ari Posner – Film & Television Composer
  • Roanie Levy – President & CEO, Access Copyright

This will be the second time Mulholland addresses the Economic Club, following her speech in Toronto in May 2017. Her powerful and honest speech resonated with the crowd, earning her a standing ovation and social media praise by many of the artists in the room. That speech was covered by the Globe and Mail’s Kate Taylor, in an insightful column titled “What happens when we starve our artists.”

In addition to shining a light on the reality that artists face in the digital age, Mulholland has presented actions that government, artists, the music industry, and music fans can take to help improve the situation for creators. The Advocacy section of Mulholland’s website includes graphics outlining steps each group can take to improve the music ecosystem. Mulholland also rallied 100 of her fellow creators to sign a letter on the importance on reforming the Copyright Board of Canada. In recognition of her outstanding advocacy efforts to improve the livelihoods of music creators, Mulholland was presented with the inaugural Music Canada Artist Advocate Award at Playback 2017.

Music Canada is proud to co-sponsor this event. Tickets to Mulholland’s November 22nd speech in Ottawa are on sale now via the Economic Club of Canada website.

Comments
view

City of Ottawa’s Draft Budget 2018 makes significant commitment to Ottawa Music Strategy

The City of Ottawa made a significant commitment to the city’s burgeoning Music Strategy today, as Mayor Jim Watson unveiled Ottawa’s Draft Budget 2018 at City Council. The draft budget earmarks $100,000 to support the Ottawa Music Strategy.

The Ottawa Music Strategy was announced last March, and is part of the legacy of Ottawa’s hosting of the 2017 JUNO Awards. The Strategy is being developed by the City of Ottawa and the Ottawa Music Industry Coalition (OMIC), with the goal of making the nation’s capital one of the world’s premier music cities. OMIC has already assembled a group of music industry representatives and local business and community leaders, known as the Ottawa Music Strategy Task Force, to develop a series of practical recommendations for the Strategy.

The announcement was applauded on Twitter by OMIC, Ottawa Councillor Jeff Leiper, and Music Canada Live.

To help guide the Strategy’s final recommendations, OMIC and the City of Ottawa are seeking public input in a brief, anonymous survey. The Strategy is expected to be presented to City Council in early 2018.

The draft budget will be voted on by City Council on Dec. 13, 2017.

Comments
view

Downtown Yonge BIA pays tribute to Toronto music heritage with second 22-storey mural

Today, the Downtown Yonge BIA announced a second Music Mural will be added to Yonge Street in Toronto, which will pay tribute to the music legends that played the area in the 1970s & ‘80s. The 22-storey fresco mural will cover the entire south wall of the Toronto Community Housing building at 432 Yonge St.

The mural, which is being developed by artist and musician Adrian Hayles, celebrates artists The Band, David Clayton-Thomas, Rush, GODDO, Carole Pope, Kim Mitchell, Salome Bey and Lonnie Johnson, as well as the landmark venues from the era, including Brown Derby Tavern, Gasworks, Piccadilly Tube and A&A Records. The 70-metre-tall piece is expected to take two to three months to complete.

“These murals are dazzling sights to celebrate amazing sounds,” said Downtown Yonge BIA’s Mark Garner in a release “They are a stunning visual reminder of the long, vibrant history of music in Downtown Yonge, which continues today.”

This mural compliments the first Music Mural on the north side of the same building, which was unveiled last year, and features luminaries from the 1950s & 60s, including Glenn Gould, Diane Brooks, Jackie Shane, Muddy Waters, Shirley Matthews, B.B. King, and Oscar Peterson. That mural was also created by Hayles, as was the mural on Reggae Lane, located at 1529 Eglinton St. West, Toronto, which honours the history and origins of Toronto’s reggae music scene.

“Great cities all over the world have murals as part of their public realm,” said Garner. “We think the music mural fits perfectly with the vision for a vibrant Yonge Street – combining visual and musical artistry.”

The mural is part of the Downtown Yonge BIA’s Music Strategy, the BIA’s multi-pronged vision to re-establish Yonge Street as a ‘Music Mecca.’ The three core components of the strategy, broadly, are:

  • Homage to Toronto’s Music Legacy
  • Activating Live Music
  • Paving the Way to Toronto’s Music Future

The mural is supported by StreetARToronto, a division of the City of Toronto’s Transportation Services Division, whose mission is to revitalize and engage communities through street art.

An artist rendering of the final version of the mural is available now on the Downtown Yonge website.

Comments
view

Photos: Scott Helman and Vincent Vallières shine at Capital Beat

Parliament Hill was alive with the sound of music last week, as the inaugural Capital Beat event brought together parliamentarians, Hill staff, and media for a non-partisan celebration of Canadian music. Presented by Music Canada and Quebecor, Capital Beat featured performances by Scott Helman and Vincent Vallières, as well as remarks by special guest speaker The Honourable Mélanie Joly, Minister of Canadian Heritage.

Also sponsored by TD Bank Group and Stingray Digital, Capital Beat took place at the National Arts Centre, where invited guests enjoyed the performances in an intimate setting. DJ del Pilar provided music before the event as well as at the afterparty.

“Tonight we are here to acknowledge the importance of music – music unites us – it inspires us – it makes us smarter and allows us to tell our stories,” said Amy Terrill, Executive Vice President of Music Canada in her opening remarks. “It builds our communities and heals our wounds.”

“It is both a pleasure and an honour for Québecor to help foster an exchange between artists, politicians and industry people but, most of all, we are happy to bring these remarkable musical talents to the attention of our nation’s parliamentarians,” said J.Serge Sasseville, Québecor’s Senior Vice President, Corporate and Institutional Affairs, in a release the day of the event.

Prior to the show, both Scott Helman and Vincent Vallières, as well as their label and management teams, were treated to a tour of Parliament by Julie Dabrusin, MP for Toronto-Danforth and member of the Standing Committee on Canadian Heritage.

 

A selection of attendee reactions to the show are embedded below. For additional photos, see our album on Facebook.

https://twitter.com/KWSasseville/status/864653603323219970

https://twitter.com/KWSasseville/status/864666866819661824

Comments

This website made possible with the support of the Ontario Media Development Corporation.