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Tariff 8 Q & A

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On May 16, 2014, the Copyright Board of Canada issued its decision setting rates for Re:Sound’s Tariff 8 – Non-Interactive & Semi-Interactive Webcasts, 2009-2012.  Tariff 8 sets the royalty rates that music streaming services must pay to Re:Sound to play sound recordings.  Tariff 8 does not apply to the use of musical compositions, which are subject to separate tariffs administered by Society of Composers, Authors and Music Publishers of Canada (SOCAN) and CMRRA/SODRAC (CSI).

Since the Board’s decision, 78 music industry associations and labels, led by Music Canada, CIMA, ADISQ and Canadian Council of Music Industry Associations (CCMIA), have joined together to form “I Stand for Music”, a coalition that continues to raise public awareness about the disastrous effects of the Tariff 8 ruling.  For those who are interested in exploring the issue further, here are some questions and answers to help you dig deeper.

 

QUESTION How does the Tariff 8 decision “impoverish” artists? Isn’t Tariff 8 just one revenue source for artists? Don’t artists benefit from royalties they receive from a number of copyright collectives?
ANSWER For these types of services (Songza, CBC Music etc.) Tariff 8 income is the only guaranteed source of income for an artist (performer). It is only in cases where the performer is also the composer that additional royalties may come from CMRRA/SODRAC (CSI) or SOCAN.The reality in the market is that sales of CDs and even downloads are declining, while music streaming is on the rise.   That’s why it is so important that artists are fairly compensated for their work in the context of web-based services.

 

QUESTION Isn’t it unfair to assert that artists will make less than 10% of their international counterparts such as in the U.S. because of Tariff 8? Aren’t there many additional fees available to artists in Canada that are not available in the United States?
ANSWER In a comparison of the rates payable for the same rights for the same activities (non-interactive and semi-interactive streaming of sound recordings) the rates certified for Canada are less than 10% of those payable internationally.

 

QUESTION Doesn’t it stand to reason that Tariff 8 would be lower than the U.S. equivalent since the Canadian repertoire during that period was about half as large as the U.S. one?
ANSWER Even were the rates certified by the Canadian Copyright Board doubled they would still be less than 20% of international rates for the same rights. But even more to the point: Re:Sound negotiated commercial deals with digital services doing business in Canada during the period. These agreements indicate precisely the marketplace value of the rights in question in Canada. The negotiated rates were submitted to the Board to demonstrate what the rates are and ought to be in Canada. The Tariff 8 rate represents about 10% of the Canadian marketplace rates.

 

QUESTION Isn’t internet streaming just like radio?   Doesn’t it make sense that the Board certified a rate for music streaming based on the commercial radio rate?In fact, shouldn’t a spin on the radio be considered more economically valuable than a “stream” by one consumer, since a spin may reach hundreds of thousands of listeners simultaneously?
ANSWER Comparing broadcast radio spins to digital service streams is comparing apples to oranges. Setting streaming rates based on the rates payable for over-the-air commercial radio broadcasts ignores the much greater value streaming services derive from recorded music. Streaming services offer a variety of genres and sub-genres of music not available on radio, which can be customized to individual preferences and accessible anywhere at any time through mobile devices. With their ability to substitute for, and cannibalize music sales, streaming services are far more comparable to on-demand streaming and download services than terrestrial radio.

 

QUESTION Isn’t it true that the Board’s decision will pave the way for new online music services to enter the Canadian market and result in more choices for consumers?
ANSWER There are many reasons why digital services may or may not have entered the Canadian market including uncertainty regarding rates. Given the extreme discrepancy between the Tariff 8 rate and international standards, and knowing it applies to a period of time that has already ended and that it may be years before the rate for the current period is known, the Copyright Board decision does not erase the uncertainty that has clouded the Canadian market.

 

QUESTION Doesn’t the Copyright Board’s Tariff 8 decision simply establish that the relative values of the rights of creators and their publishers on the one hand (“authors’ rights”), and of the record companies and performers on the other hand (“neighboring rights”), are generally equal and should be treated as such?
ANSWER The Copyright Board rejected marketplace rates, throwing out years of precedential agreement and North American precedents. They did this because the “authors’ rights”, i.e. SOCAN rates, were so low they conflicted with marketplace rates freely negotiated in Canada (and equivalent to those in the U.S. and around the world) for artists and the music companies that invest in their careers. If the Board were to certify Re:Sound’s suggested rates for Tariff 8 royalties, they would have to raise SOCAN rates by 90%. Since they were not prepared to address the issue of low SOCAN rates, they devalued the rights of record companies and performers to bring everyone down to the lowest common denominator.

 

QUESTION As online streaming services become more established, build their paid subscriber bases and generate more ad revenue from free subscriptions, doesn’t it make sense that compensation to rights holders would increase as the economics metrics for their businesses improve?
ANSWER The Tariff 8 rate places such a low value to a stream in Canada it may very well have an impact on the international standard as music companies in other jurisdictions argue that they should pay 90% less for content. This race to the bottom will only further devalue music. Even as the digital services companies become more economically viable, it does not stand to reason that devaluing the streams will lead to fair compensation for rights holders later. Tariff 8 was an opportunity to certify that music in Canada has the same value as music in the United States and elsewhere around the world. Even royalty rates in the United States – which are 90% higher – are hotly contested as musicians, including songwriters, fight for fairer compensation. With Tariff 8 rates set at 10% of a standard that is already considered to be far too low, it will make it even harder for Canadian musicians to make a living and to thrive internationally while digital music companies continue to grow and flourish.

 

 

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Ticket Giveaway: Retweet To Attend A Screening Of WHIPLASH In Toronto On October 23, 2014

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On Thursday October 23, 2014, Mongrel Media & 4479 proudly present Whiplash at Toronto’s Scotiabank Theatre, and an evening of Canadian Music in support of the charity MusiCounts. A favourite among festival goers this year, Whiplash tells the story of Andrew Neyman (played by Miles Teller), an aspiring young jazz drummer whose ambitious instructor (J.K. Simmons) helps push his ability using unorthodox (but effective) training methods.

Following the screening, we’ll head on over from Scotiabank Theatre to Adelaide Hall for the official after party!

Want to go? Simply retweet Music Canada’s tweet below by Wednesday October 22 at 12 PM and you’ll be automatically entered to win a pair of tickets to the screening and after party. You must be 19+ to enter. Transportation to Toronto will not be provided.

WhiplashCOntest_HEADER

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Study of Live Music in Ontario Launched: Measuring Live Music – Stand Up and Be Counted!

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Toronto, October 15, 2014: Music Canada is announcing the launch of a province-wide study of the live music industry entitled Measuring Live Music.

This economic impact study will provide never-before-calculated data and information about the live music industry in Ontario that will:

  • Identify strengths, weakness, opportunities and threats facing the live music community;
  • Provide the live music community with a critical tool that will assist individual and cooperative efforts to grow the industry;
  • Inform future government policy decisions and initiatives; and,
  • Provide benchmarks for future measurement and tracking.

“We know that live music is an essential piece of our music story in Ontario and yet, no one has truly tried to capture the extent of its impact on our economy, workforce and communities,” says Graham Henderson, President of Music Canada. “We’re excited to be working together in order to fill this void at a time when the live music community is itself launching a national association, Music Canada Live, which will benefit from this type of information.”

A previous Canada-wide study developed for Music Canada suggested that, based on Statistics Canada data, in 2010 live music performances generated $455 million in revenues and contributed $252 million to the Canadian economy.

However, to date, there exist no similar measures for Ontario – this study represents the first time that anyone has measured the overall size and importance of Ontario’s live music industry to the economy.

Music Canada has engaged Nordicity to conduct the economic impact study through the administration of an online survey, and one-on-one interviews. The study is being undertaken in consultation with a wide range of live music industry stakeholders and through the support of the Government of Ontario’s Ontario Music Fund.

 

̶   30 –

For more information:

Quentin Burgess – Music Canada

qburgess@musiccanada.com
If you think you should to be counted but haven’t received the survey, contact Mila from Nordicity at mdecheftweddle@nordicity.com

Music Canada is a non-profit trade organization that represents the major record companies in Canada, namely 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.

 

 

 

POUR PUBLICATION IMMÉDIATE

Lancement du sondage ontarien Mesurer la musique en direct – Debout pour le décompte !

Toronto, le 15 octobre 2014 : Music Canada annonce le lancement officiel du questionnaire d’une étude d’impact économique de la musique en direct en Ontario intitulée Mesurer la musique en direct.

Cette enquête permettra de recueillir pour la toute première fois un ensemble de données sur l’industrie de la musique en direct de l’Ontario aux fins suivantes :

  • Identifier les forces, les faiblesses, les opportunités et les menaces actuelles dans le domaine de la présentation de musique en direct à travers la province ;
  • Fournir à la communauté de la musique en direct un outil appelé à jouer un rôle essentiel dans le développement d’efforts individuels et collectifs visant à assurer la croissance de l’industrie ;
  • Obtenir des statistiques sur lesquelles le gouvernement pourra se baser dans ses décisions politiques et initiatives futures ; et
  • Permettre la réalisation d’analyses comparatives avec de futures initiatives de mesure et de suivi.

« Nous savons tous que la musique en direct est une composante essentielle de l’activité musicale ontarienne, mais personne n’a encore vraiment essayé d’en évaluer les impacts sur notre économie, notre population active et nos collectivités », a affirmé Graham Henderson, président de Music Canada. « Nous sommes heureux d’aider à combler cette lacune alors que la communauté de la musique en direct se regroupe au sein d’une nouvelle association, Music Canada Live, qui bénéficiera grandement des informations recueillies dans le cadre de notre sondage. »

Une enquête précédente menée à la grandeur du pays pour le compte de Music Canada suggérait que, d’après les données de Statistique Canada, les concerts en direct ont généré des revenus de 455 millions $ en 2010 et rapporté 252 millions $ à l’économie canadienne.

Présentement, toutefois, il n’existe aucun système de mesure des impacts de la musique en direct en Ontario, si bien que la présente enquête sera la toute première à permettre d’évaluer la taille de l’industrie de la musique en direct en Ontario et son importance pour l’économie de la province.

Music Canada a retenu les services de Nordicity pour réaliser cette étude d’impact économique ainsi qu’une série d’entrevues individuelles. L’étude est réalisée en consultation avec de nombreuses parties prenantes de l’industrie de la musique en direct et grâce au soutien du Fonds ontarien de promotion de la musique du gouvernement de l’Ontario.

 

̶   30  –

Pour plus d’informations :

Quentin Burgess – Music Canada

qburgess@musiccanada.com

 

Si vous désirez participer à cette enquête, mais n’avez pas reçu le questionnaire, veuillez contacter Mila chez Nordicity au mdecheftweddle@nordicity.com.

Music Canada est une association professionnelle à but non lucratif qui représente les grandes maisons de disques canadiennes, notamment Sony Music Entertainment Canada, Universal Music Canada et Warner Music Canada. Music Canada collabore également avec de nombreuses entreprises indépendantes – maisons de disques et distributeurs, studios d’enregistrement, salles de spectacles, diffuseurs de concerts, gérants et artistes – à la promotion et au développement du secteur musical.

 

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Toronto Music Policy Survey – 2014 Mayoral Candidates

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Music Canada is a passionate advocate for music and those who create it, identifying ways to strengthen Canada’s music sector.

Our research shows that Toronto has the potential to be the greatest music city in the world. It is the third biggest music market in North America, and is home to a vibrant music scene. This is why Music Canada has also led the 4479 Toronto Music City initiative, and why this survey has been created. Music Canada has surveyed Toronto’s mayoral candidates in order to raise awareness of music issues in Toronto, and to secure music friendly commitments.

We asked Olivia Chow, Doug Ford, and John Tory three questions on key music policies as identified by Music Canada. We have listed their responses alphabetically below, and encourage Torontonians to consider a candidate’s positions on music policy when casting their ballot. Voting day is Monday, October 27, 2014, and Advance Polls are open now through October 19th. For information on how or where to cast your vote, visit the City of Toronto’s Election Services site.

 

Toronto Music Policy Survey – 2014 Mayoral Candidates

Toronto’s live music venues, concert promoters, and studio owners have all revealed that regulations and red tape at City Hall are creating an impediment to business growth. Based on best practices from Austin, Texas, Music Canada has recommended that the City of Toronto create a Music Office within its Economic Development & Culture Division. With a modest budget, this office would assist Toronto’s music community in navigating city infrastructure and regulations, and in stimulating business development opportunities, all of which will lead to greater investment and employment in the music sector.
We asked: How will you support the creation of a Toronto Music Office?
Olivia ChowOlivia Chow “As an artist herself, Olivia has a history of championing the arts. Olivia will create the Toronto Music Office, which could be paid for with increased revenue from the billboard tax. Like the Film Office already does to support film in our city, the Music Office will create an even more attractive environment for music and culture in our city.Olivia supports making city services work for people, from small business tax cuts to ensuring that economic development agencies in the city streamline their processes. Austin, Texas is a leader on the music front and we can do the same here in Toronto with a much larger population and pool of artists. This will build on the incredible musical talent in our city, and the music festivals and awards shows that already attract so many to our city.”
Doug Ford
Doug Ford		 “I believe in the power of the music industry to stimulate our economy, bring jobs to our city and create a vibrant cultural scene. In the past four years we have supported the arts and we have supported Toronto’s music industry. We increased arts funding by $22 million to support arts and culture in Toronto. I am also very proud of our work in partnership with Music Canada to help advance the music industry by travelling to Austin Texas on Toronto’s first music industry business mission. In Austin we signed the world’s first Music Cities Alliance between Toronto and Austin. We have also helped fund a new position at City Hall to liaise with the music industry to help them do business with the City of Toronto. We want to replicate the success we have seen with Toronto’s Film Office and apply that same approach to the Music Industry. I will work with stakeholders like Music Canada to make sure we expand on this and create fully functional Music Office at the City of Toronto.”
John Tory
John Tory		 “John Tory’s “Music City” policy is an important part of his larger Arts and Culture policy which acknowledges the vital contribution the creative sector makes to the city. The creative sector creates the conditions for the city to thrive – it builds our international reputation, employs hundreds of thousands of people, and contributes billions to our GDP. It is important that the city creates the conditions for our creative sector to thrive.In May during Canadian Music Week, John announced his plan to support the growth of the music industry in Toronto. Included in his “Music City” program is the commitment to establish a new stand–‐alone Music Office which will act as a one stop shop for the music community.The City of Toronto can learn from its efficient and collaborative work with the film and television community. The city’s film office has succeeded in improving customer service has helped to increase the level of activity in Toronto in this important creative sector. Based on this success story, and a similar experience in Austin Texas in the music sector, the City of Toronto will benefit from the creation of a Music Office. The Music Office will be established within the Economic Development department and will open in 2015. The Music Office will be expected to accomplish two main goals: reduce red tape and stimulate greater economic activity in the music community. Both of these activities will help to reduce the impediments to business growth currently being faced by the music community in Toronto. Targets will be set and progress measured over a 5 year term. Expected results will include greater activity in the music sector, increased employment and private sector investment, and greater efficiency at City Hall.The Music Office will be supported in its work by the Toronto Music Advisory Council which was established in December 2013 and reports to the Economic Development Committee. John commits to extending the mandate of the Music Advisory Council.”

 

Tourism is an important part of Toronto’s economy, with almost ten million overnight visitors in 2010, generating over four million in city revenue. The specific impact of music tourism on Toronto’s economy has yet to be measured, though given the concentration of the music industry in the GTA, it could be significant. Working with the music community, the City of Toronto and Tourism Toronto could quantify existing music tourism revenues and develop targeted initiatives to further increase its impact.
We asked: How will you champion the development of a music tourism strategy for Toronto?
Olivia Chow
Olivia Chow		 “Olivia has committed to seeing the city invest more in the arts, bringing our investment from $22.5 per capita to $25 per capita. With worldclass awards shows like Polaris Music Prize and the MMVAs, and festivals like Pride Toronto and the Scotiabank Caribbean Carnival, Toronto is a cultural capital unlike any other. Our commitment to investing in parks and green space in our city will reduce red tape surrounding large events and help support street festivals and open streets initiatives. Through strategies like this, we can continue to make our city a vibrant and dynamic cultural centre.”
Doug Ford
Doug Ford		 “When we went down to Austin, Texas, last year I saw the power of the music industry first hand. Austin is a City one third the size of Toronto, yet they have created a thriving music industry that generates three times the economic activity of Toronto’s. I learned a lot in Austin, I learned the potential of the music industry to drive tourism and stimulate economic development. I will support Toronto’s music industry to help it thrive. A vibrant cultural scene makes a City more attractive to visitors, investors and businesses alike. I will drive a music tourism plan through the Economic Development Committee to ensure we are doing everything we can at the City of Toronto to attract more music tourism to our city.”
John Tory
John Tory		 “John Tory believes our creative sector is one of our best tourism assets. Addressing the barriers to growth in music activity by establishing a Music Office will, in itself, help to further boost the opportunity to attract music tourists. Festivals, concerts and other music events, staged throughout the city, will position Toronto as a key destination for music tourists. John is also committed to facilitating greater connectivity for tourists to Toronto’s creative hotspots through the SmartTrack line. This will improve the overall tourist experience, as well as benefit Toronto residents who want to access music events. Increasing the audience, whether drawn from afar or here at home, will create greater demand for live performances and therefore, generating more opportunities for artists and musicians to perform.Toronto’s destination marketing organization, Tourism Toronto, should work with the music community in order to further incorporate Toronto’s music story into our tourism marketing.”

 

Toronto has an active and culturally vibrant live music scene, but red tape at City Hall has made it difficult for new and existing festivals and events to put on live music in Toronto’s parks and squares.
The application process is ambiguous and unclear, and can be overwhelming for people who are unfamiliar with it. If City Council were to place a higher priority on live music there would be a greater impetus to overcome these barriers.
We asked: How will you support the growth and development of live music in Toronto?
Olivia Chow
Olivia Chow		 “At the beginning of this year the Fords went after Electronic Dance Music (EDM) in our city and tried to prevent any EDM on city property, especially on the Exhibition grounds. Olivia has been a long-time supporter of safe EDM events on public property. As a city councillor, she worked to reverse an ill-conceived ban on raves in public spaces and bring in protocols to ensure the events were safe and fun.The city has a vital role to play in facilitating great music in our city. The Toronto Music Office will lead this effort and we need to make sure that there are places, throughout our city, that can easily serve the needs of music artists. Fort York, for example, has become a musical and event destination in our city. Olivia has pledged to reduce the red tape and process in getting permits on public space.4479 is a great initiative that will help move our city’s cultural sector ever more forward. Olivia looks forward to working with 4479, Music Canada, other partners, and the new Toronto Music Office to make our city even better.”
Doug Ford
Doug Ford		 “I will support the creation of a music office to make it easier for the music industry to operate in Toronto, especially the live music scene. Toronto already has an amazing live music scene, we have amazing festivals like NXNE. I believe what we need to make Toronto’s live music scene even better is more cohesion between the industry and the City and a concerted effort from the City of Toronto to make it easier to get permits for live music events. In Austin we attended the ACL music festival, a live music events that attracts thousands of visitors and generates over $100 million in economic activity each year. I want to bring a live music festival to match ACL to Toronto, while still supporting our existing music events and helping them grow. I am also committed to exploring the creation of a music industry incubator to support new music industry startups.”
John Tory
John Tory		 “The importance of the music community and the broader creative sector cannot be understated. In addition to the direct economic benefits that result from a vibrant music sector, live music also serves as a magnet for tourism, investment and talent (both inside and outside the creative community). In order to ensure greater communication with the creative community, John will appoint a Creative Economic Advocate within the Mayor’s office who will act as a liaison to the Mayor. This measure will, along with other initiatives, ensure that the creative community and its benefits, including music, are better understood and appreciated by City Council and staff.In regards to presenting music in particular, the establishment of a Music Office will help to eliminate the barriers facing music presenters who wish to program Toronto’s underutilized spaces, and help to stimulate greater activity in the music community through business outreach efforts. A large international festival, for instance, is a missing critical component in Toronto’s music infrastructure. Whether growing an existing festival, or attracting the creation of a new festival, John will support efforts to fill this gap.”

For more information on Toronto’s municipal election, visit the City of Toronto’s Election Services page.

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UK’s Charli XCX Presented With Platinum Award For “Boom Clap”

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UK singer/songwriter Charli XCX had quite the summer in 2014. After reaching #1 with her appearance on Iggy Azalea‘s summer anthem “Fancy”, Charli XCX earned a Canadian Platinum certification for her own song “Boom Clap”, which was featured on the soundtrack for the The Fault In Our Stars. Prior to her sold out show in Toronto, Charli XCX was presented with a Platinum award plaque for “Boom Clap” from the Warner Music Canada team, along with a plaque commemorating the #1 position of the song on Canadian CHR/Top 40 radio.

Check out the video for “Boom Clap” below:

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Echosmith Presented With Gold Plaques For Single “Cool Kids”

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EchosmithGoldMC

During a tour stop in Vancouver, BC on Wednesday, Los Angeles indie-pop outfit Echosmith were presented with Canadian Gold award plaques for their single “Cool Kids” off their debut album Talking Dreams (Warner Canada). Echosmith is comprised of 4 siblings: Sydney, Graham, Noah, and Jamie Sierota. This summer, the band completed their second stint on the Vans Warped Tour and is currently opening for American Authors on the Honda Civic Tour.

Upon recieving their awards, Echosmith tweeted the following:

Check out the brand new video for “Cool Kids” below:

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Guest blog: Fairness in the Fishbowl – Reconsider the Copyright Board Ruling on Tariff 8

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The following is a guest blog by Greg Nisbet, Founder & CEO of Toronto-based digital music company Mediazoic:

Made-in-Toronto music biz legend Bob Ezrin recently wrote about the Copyright Board ruling on Tariff 8, speculating that it may be “The Day The Music Died”. In the piece, he states the following:

Perhaps the worst result of the low rate is that we will be granting a 90% discount to American streaming companies that covet our market and will eagerly sweep in here with powerful and well-funded systems that will wipe out any Canadian-owned competition – all at the expense of the creators you have historically supported with thoughtful policy.

I run a 100% Canadian music streaming company and I agree with Mr. Ezrin. The ruling was a bad idea and the rates are too low.

It may at first seem counter-intuitive that a streaming company would advocate for paying higher costs to do business, in a business that is already notoriously expensive. Indeed, I was asked in a recent Globe & Mail article if music streaming companies will ever make money.

Well, I don’t know about other companies, but I am proud to be able to claim that ours has been built without any of the digital and entertainment grants available, and, not having had access to those deep wells of venture capital available to many of the international streaming companies, we have therefore managed any progress we’ve made through our own devices.

In our first couple years in business, that lack of funding was actually by choice 😉 People in the industry told me for years that Mediazoic was the ultimate grant magnet – Canadian, digital, music, and media all rolled into one. I used to respond that I didn’t think we could consider ourselves a viable business model unless and until the market had decided our fate. We were going to focus on getting clients, not writing grants.

Then one day we lost a huge deal to a very well-funded international service because, in order to enter our market, they were willing to do for free what I’d have actually had to pay my people to do. I understood immediately the frustration of the local merchant with the big box store opening next door (and yes, we started applying for all the grants we could!)

So yes, Bob Ezrin has a point, but mine is not an argument for protection of companies like mine up against better-funded international competitors. I still think having to stand on our own two feet helps us understand how to build something valuable and sustainable.

My concern with the Copyright Board ruling is that it will foist this “big box” model on our music creators as well. The price-driven “big box stores” (streaming companies) are set up to thrive, but their “suppliers” (artists, management, labels, etc.) are not. And listeners may think they’re better off, but when the creators suffer, it is ultimately music fans who suffer.

It would have been one thing if licensors, who have a deep understanding of the business/culture balance and of Canadian/international ownership complexities, had decided the timing and nature of a change in rates. As we all know, streaming even at low rates is still preferable to file sharing, or streaming from sources that don’t report their plays. The progress that has been made in monetizing convenient access to great music is not something likely to reverse, and in spite of the whipping-boy status earned during the piracy wars, I haven’t found anyone in the business who understands that better than label folks.

And yes, streaming companies do need an environment in which to make a profit. But rather than push for lower rates, my company chose to innovate the business model. Basically, we believe the success of each project we undertake is based on three parties – us for providing the platform, the rightsholders of the music played on our system, and our station hosts (clients) for getting it out there. As such, when planning and implementing a project, we always strive for a fair and transparent split of the revenue between the parties. This isn’t just because we’re nice and we love music – we believe that in the music business of the future, the most successful companies will be the most fair and transparent.

Indeed, we hear repeatedly that one of the main reasons our clients choose to do business with us is that they want to support a flourishing arts community, even more so if that has built-in support for Canadian artists and companies.

We live in a fishbowl. Fairness may be desirable now for organizations, but it is rapidly becoming necessary. Systems that are not based on fairness are doomed to fail, as they will not bear the ever-increasing scrutiny that comes with our interconnected world.

Simply put, the Copyright Board ruling is not fair. It is my hope that the artistic community will use every means at its disposal to support the many innovative new ways of delivering music that actually focus on giving artists a fair shake.

 

Greg Nisbet

Mediazoic…Radio, Evolved

gregn [at] mediazoic [dot] com

http://www.mediazoic.com

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National Live Music Association Launches with Naming of Executive Director

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Music Canada Live, a new national association that will represent members of the live music community, has announced that Erin Benjamin will become its first Executive Director.

Ms. Benjamin, formerly the Executive Director of both the Canadian Arts Presenting Association (CAPACOA) and the Ontario Council of Folk Festivals (now known as Folk Music Ontario), has spent the past 14 years of her career working on behalf of the presenting and touring sector. “It’s incredibly exciting to be a part of the emergence of a new organization at a time when governments and audiences alike are deepening their awareness of the value, impact and role of live music in and on our communities.  I look forward to working in partnership with colleagues from across the country, to shine the spotlight on the live sector – here at home, and around the world”.

Music Canada Live is a newly incorporated trade association that will represent business members engaged in the live music industry in Canada (ie. venues, promoters, festivals, agents, award shows, ticketing suppliers).  It has been formed with seed funding from its founding members, and with the support of the Government of Ontario’s Music Fund.

“Hundreds of businesses and non-profit corporations are operating across Canada in the live music sector, employing thousands of people, and yet, unlike other segments of the music industry, there is no national association devoted to representing the interests of this large and diverse group,” says Benjamin.  “With many issues affecting the live music industry specifically, including, immigration, licensing and funding, Music Canada Live will provide a forum for identifying solutions and advocating on behalf of the industry.”

Music Canada Live is in the formative stages but will seek to attract general members and additional founding members and directors from across the country, big and small, for profit and not-for-profit.  In addition to advocacy, through networking events and communications, it will provide greater opportunities for partnership and collaboration among its members.

 

Founding Members:

The Agency Group

Budweiser Gardens

Canadian Music Week

Collective Concerts

The Corporation of Massey Hall and Roy Thomson Hall

Evenko

Live Nation

NXNE

Music Canada

Ticketmaster

The Union Ltd. (Union Events)

 

Erin Benjamin will assume her new responsibilities on Monday, November 10, 2014.  A limited number of opportunities exist to join the Founding Members who will be responsible for developing the strategic plan, membership structure, and the organizational priorities for its launch.  For further information on becoming a Founding Member or for general information, please contact info@musiccanadalive.ca.

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Sweden’s Tove Lo Receives Platinum Award For Single “Habits”

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Following her headlining concert at Toronto, ON’s Phoenix Concert Theatre, Universal Music Canada recording artist Tove Lo was presented with a Canadian Platinum award plaque for her track “Habits (Stay High)” off her 2014 debut album Queen Of The Clouds. The Swedish singer took her to Instagram to thank the crowd for an amazing show and break the news of the Platinum certification.

Watch the video for “Habits” below:

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Chromeo Presented With Gold Plaques For Summer Hit “Jealous (I Ain’t With It)”

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chromeogoldplat

After a busy summer touring the globe in support of their album 2014 White Women, Montreal, QC’s Chromeo paid a visit to Last Gang Records‘ Toronto headquarters where they were surprised with Gold and Platinum award plaques for their smash single “Jealous (I Ain’t With It)”. The awards were the first ever for the “funks lords”, who were in Toronto for a highly anticipated concert at the Kool Haus.

Check out the video for “Jealous” below:

Categories: Gold/Platinum
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