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.
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 TheMastering 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 reportidentifiescritical 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.
“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
For more information: Corey Poole, Music Canada email@example.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.
Thank you for the opportunity to speak with you today. I’d like to commend you on your study as it is an active topic of discussion currently across the country.
My interest stems from my work on Music Cities which we began at Music Canada in 2011.
We define Music Cities as a municipality of any size that has a vibrant music economy which is intentionally supported and promoted.
Since 2014 I’ve led our study of close to 30 international cities and become one of the world’s leading thinkers on the topic. I’ve advised cities on every continent and spoken at countless events. I’m an active member of music city committees in Vancouver and Toronto.
Music Canada published a roadmap for the development of a Music City in 2015 and since then about a dozen Canadian cities or regions have taken that roadmap and begun to develop music strategies – including most recently Ottawa which released a strategy just two weeks ago.
One of the most important components of a Music City is the availability of spaces and places – to rehearse, record, perform – It’s also likely the top issue identified in Canadian communities.
Some of the common concerns that arise in public surveys and focus groups relating to music are:
Lack of affordable rehearsal spaces; live-work spaces – and housing in general
Pressure on small grassroots venues – affordability pressures – and pressures that come about from mixed use areas – venue closures are creating gaps in what we call the venue ladder which is needed to adequately incubate artists
Heavy red tape is also cited
The need for greater audience engagement
And greater opportunities to collaborate – to connect with other professionals – both within music – and also across the cultural sectors
Creative hubs and cultural districts can, in their own ways, respond to these commonly identified needs and in so doing accomplish larger policy, economic, or cultural goals.
In our Music City investigation – we have identified three typical formats for creative hubs:
Hubs that are artist-centric with recording facilities, rehearsal and performance spaces, workshops, access to professional services like lawyers or accountants. The Kitchener Public Library is emerging as a cultural hub of this kind.
A music business incubator like you might see for other industries providing hot desks, networking events, business development support and training.
Or a combination of the two; The Music District in Fort Collins Colorado is a great example. 4000 square feet with programming aimed at both of the two groups, plus outreach to the broader community.
Cultural districts, on the other hand, allow municipalities, in particular, the flexibility to design rules and regulations that can be used to nurture creative activities and organizations in a set geographic area.
Both of these tools are ultimately about creating spaces and places for cultural uses.
As you consider this topic and how best the federal government can support them there are two key things I’d like you to remember:
Music spaces are sometimes not what you might expect.
A large portion are not buildings built specifically for a music purpose. Likely half of the inventory is made up of multi-use, repurposed or unusual spaces. Bars, restaurants, coffee shops, libraries, retail spaces, micro-breweries, repurposed industrial properties – to name a few.
In large cities and small towns – places for musical creation and performance are emerging from unique raw materials.
Similarly creative hubs do not fit a tight definition – I encourage you to think in broad terms about what qualifies as a creative hub.
And secondly this network of cultural spaces is composed of a mix of for-profit and not-for-profit– both are critical for the sustenance of our cultural sector.
The same artists who perform at not-for-profit venues, perform at for-profit venues – it really makes no difference.
Our cultural districts are also made up of this mix.
Commercial entities – as an example music venues or music studios – are important tenants in cultural districts and struggle with some of the same challenges facing their non-profit cousins, but typically do not qualify for federal funding programs.
Queen Street West was mentioned in the department’s testimony. One of Queen West’s most iconic and longest-serving operators – the Legendary Horseshoe Tavern – is only able to maintain its space thanks to the generosity of the building’s owners. Should the landlord choose to charge market rent – the Horseshoe could not remain.
Other jurisdictions have recognized the important contributions of the commercial sector – and that they too face affordability pressures – and heightened demands from nearby residents to mitigate sound – and have made loans or grants available to venues to upgrade their facilities or acquire specialized equipment.
This is something that could be considered in an enhanced funding program.
Again – I applaud you for your study.
Thank you and I look forward to expanding on some of these issues in the Q&A.
Minister Joly, Ministers Beare and James, Mayor Robertson, Mark, Allan, industry colleagues and friends, it is my pleasure to speak to you this evening on behalf of Music Canada.
Before I go any further I also want to thank the BC government for its confidence in the music sector and continued investment. The excitement is palpable. Amplify BC will produce great dividends for BC communities, artists and the broader ecosystem. Thank you.
Tonight I’d like to focus my remarks on the idea of challenging the status quo.
And to underline the importance of action – both individual and organizational.
Music Canada is proud to have made a commitment to leadership in our industry by among other things – refusing to do things one way simply because it’s the way it has always been done.
Our board – Shane, Steve and Jeffrey – and our staff team led by Graham are proud of our efforts to embrace and encourage new ideas with a bias towards action.
But don’t just take my word for it. Let me give you a few examples.
It’s why we did something no one had done before in taking on the issue of Music Cities.
Why in 2011 we began to examine the way municipalities interact with their music communities and how they can grow the music economy for the benefit of the entire city but also specifically for artists and the larger music ecosystem.
Challenging the status quo is why our work resonated and is used on every continent. It has led a dozen cities in Canada alone to begin the process of developing music strategies – most recently reflected in the exciting announcement yesterday by Mayor Robertson.
Our commitment to challenge the status quo also led us to broaden the conversation with provincial governments, stressing the importance of music as a regional economic driver, in addition to a cultural powerhouse.
Our commitment to challenge the status quo is why we won’t give up on our advocacy for quality music education for all young people – no matter where they live, or their family’s income. There are simply too many benefits. The focus on STEM – Science – technology- engineering and math – is deficient. Arts and humanities must be on equal footing. STEAM should be our goal.
Our commitment to challenge the status quo has also led us to help artists voice their concerns and solutions. It’s why we champion the work of the brilliant artist advocate Miranda Mulholland and encourage creators to get involved in the current copyright review.
And it’s why the theme of our JUNOs participation this weekend is our advocacy support for artists at every stage of their career.
One of the biggest challenges for music creators is the Value Gap. In an era of unprecedented music access and consumption, creators are receiving a fraction of what they should be paid for the use of their music, and a middle class of musicians – the JUNO nominees of today and tomorrow – is in serious jeopardy.
But we don’t have to simply accept the outdated laws that contribute to the Value Gap.
The status quo.
No. We should all call upon the federal government to address safe harbours and industry cross-subsidies that undermine a viable marketplace. And we – our friends at SOCAN and other partners – are doing just that.
And finally challenging the status quo is why we’ve begun an organizational review to ensure that we are ready to tackle current issues facing our community and to prioritize the values of inclusion and diversity. It’s why we have led conversations on these vital topics – including last year at CMW’s global forum when we focused on indigenous communities – and at our fall meeting – on gender inequality. We’ll continue the conversation on inclusion and accountability in May at CMW.
Change will not happen naturally. If it did, we wouldn’t be where we are today. In our industry. Or in society. We would not be faced with inequality.
We can’t wait for a natural evolution to occur.
Sometimes change needs to be forced even if it’s uncomfortable and each one of us – as individuals – and as organizations have a responsibility to do our share.
So, to all our partners in the room who are also challenging the status quo, whether by diversifying your boards, mentoring and empowering women or other underrepresented groups to have a greater presence in music production or management, or across nominations categories right here at the JUNOs, we stand with you and we support you. To all who understand the contribution of Canadian artists and believe in the power of music to our economy, our culture and our educational system, let’s continue to work together to create the change we all believe in. Thank you.
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.
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.
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.
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.
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.
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.
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.
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:
Artists and musicians;
Music ecosystem (professionals and businesses who support artists in their careers);
Spaces and places (education, rehearsal, recording);
Thriving music scene (venue ladder, all ages etc);
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.
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.
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.
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.
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.”
The first panel at Playback 2017, Music Canada’s annual industry dialogue and celebration, focused on strategies to improve inclusivity in the music industry.
Drawing on lessons learned from other industries, and current initiatives in music, Music Canada’s Executive Vice President, Amy Terrill, led a discussion about concrete actions that can be taken to improve gender parity in all aspects of the music industry including boards of directors, senior executive positions, festival programming, and more.
Just before the panel, Amy announced a new direction that had just been passed by the Music Canada Board to examine ways our own organization can be more representative of the community:
Vanessa Vidas – an Associate Partner who is Deloitte’s Leader, Inclusion – Growth & Markets. Her objectives are to advance inclusion within the firm but also more broadly across Canada. Vanessa is also involved in The 30% Club, which aims to develop a diverse pool of talent for all businesses and whose members are committed to better gender balance at all levels of their organizations.
Keely Kemp – founder and President of CultureCap, and also co-founder of Across the Board, an advocacy movement committed to ensuring gender parity on the boards of directors of organizations that impact the Canadian music industry.
Catherine Tait – a veteran with over 25 years of experience in the film and television industries in Canada and the US. She is President of Duopoly and co-founder of iThentic whose recent projects include Epic Studios with Maker Studios and Save Me for CBC Comedy. Catherine released a CMPA study entitled Women & Leadership: Gender Parity in The Screen Based Industries early in 2017.
On October 17, at the first Playback event, Music Canada’s Executive Vice President, Amy Terrill, launched the Playback 2017 site and highlighted some of Music Canada’s accomplishments from the past 12 months described in the publication.
Watch the full video below, and for a fuller picture of Music Canada’s work in the past year, check out the Playback 2017 website.
Below is a selection of photos from the Playback 2017 year in review.
A new report unveiled during the 2017East Coast Music Awards: Festival and Conference today calls for the need to develop an Atlantic Canadian Music Strategy in an effort to strengthen the future of the region’s music sector.
Striking A New A-Chord, a report spearheaded by the East Coast Music Association (ECMA), Music Canada, and Music Canada Live, emphasizes that concentrated investment in the music industry is beneficial not only for those who work in the sector, but ultimately for the region as a whole.
“Music is fundamentally linked to Atlantic Canadian culture,” says Andy McLean, Executive Director of the ECMA. “This report clearly shows that – in addition to bolstering that identity – supporting this sector means helping small businesses, creating opportunities to attract and retain youth employment, and developing our artists to compete at an international level. The first step to harnessing these opportunities is creating a pan-Atlantic strategy.”
Delivered during a presentation at the Saint John Trade & Convention Centre this afternoon titled Stronger Together, the report also marks a landmark partnership between all five music industry associations – Musique/Music NB, Music Nova Scotia, Music NL, Music PEI, and the Cape Breton Music Industry Cooperative – who have committed to working with the ECMA, Music Canada, and Music Canada Live to establish this regional strategy.
“Atlantic Canada has one of the richest, most important – but fragile – music scenes in the country. Creating and executing a region-wide strategy will ensure the true economic, social and cultural potential of the industry, and its countless benefits for cities and towns, can be realized,” says Erin Benjamin, Executive Director of Music Canada Live. “This is an historic moment in the timeline of East Coast music, and huge milestone for all of the associations involved. Congratulations, Music Canada Live looks forward to supporting the hard work ahead.”
The report, which was officially commissioned at last year’s ECMAs in Sydney, NS, underscores a number of challenges facing musicians and industry professionals in Atlantic Canada including stringent liquor laws, changing business models in the industry, restrictions on live venues, and lack of industry infrastructure. The latter is a key focus for the proposed strategy, calling the shortage of music publishing companies, agents, publicists, bookers, and artist managers in the region “alarming.”
Among other recommendations, Striking A New A-Chord also calls for the development of an Atlantic Canadian Music Fund that would seek to provide resources to complement existing programs, attract investment, and develop and incentivize musicians and music related businesses to reinvest in Atlantic Canada.
“Targeted investments in other parts of Canada have strengthened those music communities and stimulated additional private spending as well, leading to increased activity in the sector,” says Amy Terrill, Executive Vice President of Music Canada. “We look forward to working with government and industry stakeholders to find ways to complement the existing programs available to the music community in Atlantic Canada in order to create a stronger, more sustainable Atlantic music sector.”
The entire Striking A New A-Chord report is available to read HERE.
Last Friday, policymakers, city planners and global music industry representatives took part in Music Canada’s and Canadian Music Week’s international music cities summit, “The Mastering of a Music City.”
The summit was based on Music Canada’s 2015 report of the same name, which set out a roadmap for cities to become Music Cities—by supporting the music sector and realizing the often-huge economic dividends from the creation, performance, and reception of music. The Mastering of a Music City Summit was curated and hosted by Music Canada Executive Vice President Amy Terrill.
In its second year, the event was a remarkable success, attended by a cross section of people from all over the world—from Canada and the United States to Poland, the United Kingdom, France, Italy, Jamaica, Columbia, and more. While the summit was attended in person by nearly 200 entrepreneurs, city planners, music industry executives, artists, and musicians, over 5,000 people from around the world tuned in to watch the livestream of the event.
One of the many highlights of the day was an opening address from Toronto Mayor John Tory which functioned as a ‘state of the music industry’ for the Music City. The mayor highlighted the strength of the music scene and the progress the city has made so far, including: creating the music in parks permit, changes to musician loading/unloading zones, the mayor’s evening for the arts, and attaching local music to city services like 311.
The city will aim to lead more live music events, including showcases, abroad and at home, and will create over 200 city-led opportunities for artists over the next year.
The city will make music part of the planning process at city hall by putting a motion to council that would notify new developments of existing nearby music venues. The mayor will also classify music as an eligible activity in the city’s employment lands.
The city will support music tourism by bringing local musicians to the city’s airports, and programming a Winterlicious-style music event to boost activity in the off-season.
“The creativity, the joy, the talent that music brings to a big city lies at the heart of what makes Toronto dynamic and innovative,” Tory said. “I am absolutely committed to the music industry and playing the part city hall is meant to play.”
The Role of Advocates
Helen Marcou, owner of Bakehouse Studio in Melbourne, Australia, delivered the opening keynote presentation on The Role of Advocates: A Story of Successfully Fighting for Your Music City.
When stringent and high cost regulations forced a storied punk rock venue in Melbourne to close, and another 126 venues to reduce their programming, Marcou began a movement called Save Live Australia’s Music, or SLAM.
The campaign had a simple but effective message, “don’t kill live music,” was inclusive and non-partisan, and brought over 20,000 supporters out to the steps of the legislature. When the campaign was over, laws were amended and a permanent voice for the music community created in the form of a music advisory body.
Marcou continues to advocate for live music, but spoke about her more recent efforts to combat sexual assault and harassment of women in live music venues and at music festivals. When Marcou penned a letter to government calling for action, the state created a taskforce to combat sexual harassment at live music venues.
Music City Leaders
The Music City Leaders Panel asked key questions of elected officials who have identified music as a key strategy or economic sector in their cities. Panelists included Karl Dean, former mayor of Nashville; John Tory, Mayor of Toronto; Filippo del Corno, Assessore alla Cultura, City of Milan; Maria Claudia Lopez Sorzano, Secretary of Culture, Recreation and Sports, City of Bogota; Delroy Williams, Mayor of Kingston, Jamaica; and Manon Gauthier, Member of the City of Montreal Executive Committee, City of Montreal.
The panelists gave critical advice to would-be Music City advocates, and industry cooperation and collaboration emerged as a key theme. Tory said that advocates must focus on the issue, and speak with one voice if they want to be heard. This sentiment was echoed by Gauthier and del Corno.
Karl Dean, former mayor of Nashville, remarked upon his work establishing affordable housing specifically for artists. Music Cities, according to Dean, are strong and thrive because of the creative people that they attract. He pointed to music education and raising creative audiences and creative people as key principles.
Following a presentation on the need for restoration and protection of Detroit’s music venues, moderator Vel Omazic, Executive Director of Canada’s Music Incubator, led the Music Ecosystem Panel. The panel discussed how cities should go about identifying and solving gaps in their Music City ecosystems.
Omazic was joined by Andreas Kalogiannides, a business entertainment lawyer and co-chair of the Toronto Music Advisory Council (TMAC); Christina Fitzgerald, CIND-FM (Indie 88); Didier Zerath, Artist Mgmt & Music Industry Consultant; Dino Lupelli, CEO of Linecheck Music Meeting & Festival; and Jesse Elliot, Director of The Music District.
One of the key themes that emerged from this panel was the importance of the grassroots music community driving change. According to Elliot, community engagement for The Music District—a Fort Collins music hub for musicians and music related businesses—lasted over one and a half years and was a key reason for the success of the program.
Andreas spoke to the results of the widely responded to survey that TMAC used to identify issues when formulating the Toronto Music Strategy. The survey, which was answered by over 6,000 individuals, emphasized the city’s need for livability and affordability for its creative class and a need for accessible rehearsal and performance spaces.
The Music Ecosystem Panel was followed by a series of presentations on the value of the UNESCO Cities of Music. The presentations were delivered by representatives of member cities, Kingston, Jamaica, Bogota, Columbia, and Katowice, Poland.
The Mastering of a Music City report touted music tourism as a key part of the equation for cities looking to generate economic benefits from live music. Erin Benjamin, Executive Director of Music Canada Live, led the Music Tourism Panel along with:
Andras Berta, International Relations Director, Sziget Festival, Hungary
Michael Crockatt, President & CEO, Ottawa Tourism, Canada
The panel talked about how music can be a powerful motivator for travel, especially when associated with powerful and memorable experiences. Rollo spoke to the opportunities that music provides. Artists and musicians are able to create experiences for their fans that no other sector can provide, and it can be a significant draw for visitors. Furthermore, music tourists spend significantly more on travel and associated expenses than other types of tourists, according to Beukema’s experience.
A presentation from Molly Neuman, Head of Music at Kickstarter, followed the panel. Neuman spoke to the crowd-funding company’s desire to support the creative independence of artists and music communities.
The conference closed with a panel moderated by Toronto City Councillor Josh Colle which asked panelists to investigate the competition for space between developers and music venues—an issue that developing cities around the world, including Toronto, are dealing with. The panel included members of the music industry, city officials, and a representative of a US development company.
Shain Shapiro, Managing Director of Sound Diplomacy, and Jocelyn Kane, Executive Director of San Francisco’s Entertainment Commission, told the conference about their cities’ experiences with the ‘Agent of Change’ policy. In San Francisco, this means that new developments must do acoustic tests and implement sound mitigation if they are built within 300 ft. of a music venue. The Entertainment Commission also ensures that new tenants cannot sue nearby venues for noise issues.
Shapiro put forward that many developers want to support music and that the industry and government’s role is to facilitate that. As new developments in London are mandated to have cultural space components, Shapiro’s organization has created guides for developers on how to make those components music-related.
Watch the live recording of the How to Work with the Development Community panel (part 1 and part 2).
Once again, global city planners and the music industry will take part in Music Canada’s and Canadian Music Week’s international creative-economy summit “The Mastering of a Music City.” The day-long summit will take place during Canadian Music Week on Friday, April 21, 2017.
This will be the second year of the summit which last year brought close to 200 entrepreneurs, industry executives, tourism experts, artists, and musicians from all over the world together to talk about Music Cities—the shared realization that cities across the globe enjoy an often-huge economic dividend from the creation, performance, and reception of music.
The summit will begin with opening remarks from Neill Dixon, President of Canadian Music Week, and Amy Terrill, EVP, Music Canada, and author of “The Mastering of a Music City” report, and Mayor of Toronto John Tory.
Helen Marcou, owner of Bakehouse Studio in Melbourne Australia, will deliver the opening keynote on The Role of Advocates: A Story of Successfully Fighting for Your Music City. When an iconic Melbourne venue was threatened with closure, Helen started a movement called Save Live Australia’s Music, or SLAM. Before she was done, 20,000 had marched on the steps of the legislature, laws were amended, and a permanent voice for music was created. Helen continues to be one of Melbourne’s strongest music advocates. Helen will share her story of fighting for her Music City.
Other notable events include:
A keynote presentation by Molly Neuman, Head of Music at Kickstarter How to Prevent Monoculture from Killing Our Music Cities. Neuman will speak to the future of culture sustainability.
A presentation and panel session on UNESCO Cities of Music that asks whether it is time for a North American member.
And four panel discussions:
The Music City Leaders Panel will ask key questions of elected officials who have identified music as a key strategy or economic sector in their cities. Panelists include Karl Dean, former mayor of Nashville; John Tory, Mayor of Toronto; Filippo del Corno, Assessore alla Cultura, City of Milan; Maria Claudia Lopez Sorzano, Secretary of Culture, Recreation and Sports, City of Bogota; and Manon Gauthier, Member of the City of Montreal Executive Committee, City of Montreal.
The Music Ecosystem Panel will discuss how to identify gaps in a city’s music ecosystem—which supports the development of artists—which gaps are critical and what to do to address them.
The Music Tourism Panel will talk about how music is a powerful motivator for travel. Attendees will hear from some of the most successful properties that incorporate music into their offerings, and how it attracts music tourists.
The How to Work with the Development Community panel will be moderated by Toronto City Councillor Josh Colle, and will include Shain Shapiro, Managing Director of Sound Diplomacy and Co-Founder of the Music Cities Convention. The panel will investigate the competition for space between development and cultural spaces.
Music Canada will livestream the opening remarks and the following panels: The Role of Advocates: A Story of Successfully Fighting For Your Music City, The Music City Leader’s Panel, and How To Work With The Development Community. You can watch these discussions live on Music Canada’s Facebook feed.