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Dennis Lloyd receives first Canadian Gold Album Award plaques in Toronto

Prior to his sold out show at Toronto’s Velvet Underground, Tel-Aviv artist Dennis Lloyd was surprised with his first Canadian Gold Single Award plaque for his breezy hit “Nevermind” by Warner Music Canada. Lloyd shared the exciting news with his fans through his social media accounts.

https://www.instagram.com/p/Bjj8ZKZjCXY/?taken-by=dennislloyd

Watch the video for “Nevermind” below.

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Post Malone surprised with Double Platinum plaque for sophomore LP

Ahead of his sold out show at Echo Beach in Toronto this week, American rapper Post Malone was presented with a Double Platinum plaque for his 2018 sophomore album beerbongs and bentleys by President/CEO of Universal Music Canada, Jeffrey Remedios.

#beerbongsandbentleys 2xPlatinum 🇨🇦📀 @postmalone @republicrecords @umusic

A post shared by Jeffrey Remedios (@jeffreyremedios) on

Later in the week, beerbongs’ highest certified single “rockstar (ft. 21 Savage)” joined Imagine Dragons’ “Radioactive” and Maroon 5’s “Moves Like Jagger” as the only songs so far in 2018 to earn 9x Platinum certifications. The album also includes the Triple Platinum single “Psycho (ft. Ty Dolla $ign)” and Double Platinum single “Candy Paint.”

Post Malone was one of the top certified artists in Canada in 2017, with 8 tracks from his debut Double Platinum album Stoney earning Single Award certifications.

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Video: Amy Terrill’s Opening Remarks at 2018 Music Cities Summit

On Saturday May 12th, Music Canada launched its new report Keys to a Music City: Examining the Merits of Music Offices, Boards and Night Mayors at the third annual Mastering of a Music City Music Cities Summit during Canadian Music Week.

Executive Vice President Amy Terrill discussed the report during her opening remarks at the summit, and touched on some key highlights and takeaways.

This report serves as a follow-up to Music Canada’s groundbreaking 2015 study The Mastering of a Music City, which the summit was named after. Keys to a Music City draws on in-depth interviews with practitioners in 17 cities globally, and analyzes some of the most common structures utilized by municipalities to develop and implement their music strategies and policies.

The report examines the various ways that music officers, music advisory boards, arms-length music organizations, and Night Mayors are used in different jurisdictions, and provides important insights into the functions, advantages, and limitations of these models.

In her remarks, Terrill highlighted how Keys to a Music City offers a guide to both city officials and community members on how they can play an important role in building their Music City. The report also provides insights and answers to some of their most pressing and relevant questions.

Watch Amy Terrill’s full opening remarks below, and stay tuned to our blog for more coverage from the Music Cities Summit in the coming weeks.

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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

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

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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Portugal. The Man receive first Canadian Gold Album Award plaques in Toronto

Portugal. The Man were in Toronto last Thursday to help kick off the Budweiser Stage’s outdoor concert season with a co-headlining show alongside Canadian indie all-stars Broken Social Scene. Prior to their highly anticipated return to the city, the Portland-based band was surprised with their first Canadian Gold Album Award plaques for their 2017 LP Woodstock by Warner Music Canada. The album features the summer 2017 hit single “Feel It Still,” which they also received new 4x Platinum custom plaques for.

Watch the video for “Feel It Still” below.

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Legacy of Canadian Cutting Crew member honoured with Platinum plaque at 2018 ECMA Awards

Photo Credit: Stoo Metz

During the 2018 East Coast Music Association Awards earlier this month in Halifax, NS, the legacy of Cutting Crew guitarist Kevin Scott Macmichael was recognized with the presentation of a Platinum Single Award plaque for the UK group’s hit “(I Just) Died In Your Arms.” Universal Music Canada presented the vintage-style awards during the show to Kevin’s daughters Cadence and Liz Macmichael, who were also in attendance to accept their father’s ECMA Directors Special Achievement Award.

https://twitter.com/GoldPlatCA/status/993577881807802368

Watch the video for Cutting Crew’s “(I Just) Died In Your Arms” below.

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Music Canada releases new report Keys to a Music City: Examining the Merits of Music Offices, Boards, and Night Mayors

May 11, 2018, Toronto: Today, Music Canada releases its latest report, Keys to a Music City: Examining the Merits of Music Offices, Boards, and Night Mayors. The report is being launched in advance of the third annual Music Cities Summit at Canadian Music Week, and serves as a successor to Music Canada’s groundbreaking 2015 study The Mastering of a Music City.

Drawing from in-depth interviews with practitioners in 17 cities across the world, the report provides a detailed analysis of some of the most common structures utilized by municipalities to develop and implement their music strategies and policies. Some of these existed prior to 2015, while others are more recent phenomena.

“Since the release of The Mastering of a Music City, additional questions have been raised by those seeking to develop their own Music City about the advantages and limitations of different models,” says Amy Terrill, Executive Vice President of Music Canada. “With this new report, cities can find answers to their most pressing questions, gain insights from experts in the field, and learn from the experiences of other cities.”

Keys to a Music City examines the various ways that music officers, music advisory boards, arms-length music organizations, and Night Mayors are used in different jurisdictions, and offers a guide on how both city officials and community members can play an important role in building their Music City.

Most importantly, this report identifies critical conditions for success and 10 key lessons learned by experts who have sought to leverage the many social and economic benefits of a vibrant, actively promoted music economy.

Supporting quotes:

“Music Canada has done it again –  Keys to a Music City: Examining the Merits of Music Offices, Boards, and Night Mayors is a deeply researched and essential resource for public officials, industry leaders, academics, non-profit activists, musicians and all other stakeholders eager to identify and adapt effective models to their own communities.”  Michael Bracy, Cofounder, Music Policy Forum

“A music city is more than a tagline. It is a process. Music is the heartbeat of sociability when people gather with family, friends and acquaintances. And a city with a plan for music is a city with a plan for its people. Music Canada’s report Keys to a Music City, along with their previous report The Mastering of a Music City provide the most comprehensive and strategically organized resources on how to become a music city.”  – Jim Peters, President, Responsible Hospitality Institute

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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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Kygo receives Canadian Multi-Platinum plaques in Toronto

L to R:Asim Awesome Awan (Co-President, Ultra Music Canada), Kygo, Myles Shear (Manager, Golden Hare Group), Adrian Strong (Co-President, Ultra Music Canada / President, DMD Entertainment) Photographer: Stephen Kazumi

Ahead of his Toronto show at the Air Canada Centre last week, Ultra Music Canada and DMD Entertainment presented Kygo with a 6x Platinum plaque for his single with Selena Gomez, “It Ain’t Me,” which is the highest certification worldwide on this single.

The Norwegian DJ was also given a Platinum plaque for his debut album Cloud Nine, which also included 3 Double Platinum Singles “Firestone (ft. Conrad Sewell)”, “Stole The Show (ft. Parson James)” & “Stay (ft. Maty Noyes), and 2 Gold singles “Raging (ft. Kodaline)” and “Carry Me (ft. Julia Michaels).”

Watch the music video for “It Ain’t Me” below.

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Camila Cabello presented with Platinum plaque in Toronto

Photo Credit: Sony Music Entertainment Canada Inc.

Following an electric performance at the Sony Centre on April 27, 2018, Sony Music Entertainment Canada Inc. staff presented Camila Cabello and Manager Roger Gold with a plaque commemorating the Canadian Platinum certification of her debut studio album Camila. The plaque also highlights the 7x Platinum certification of “Havana (ft. Young Thug),” the Platinum certification of “Never Be The Same,” and the Gold certifications of “Real Friends” and “She Loves Control.”

Watch the video for “Havana” below.

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