Music Canada

Gold/Platinum

Join Mailing List

Music Canada

Gold/Platinum

Tag archive: Graham Henderson (75)

view

Graham Henderson’s testimony at the Standing Committee on Industry, Science and Technology – Canadian Copyright Act review 2018

On June 12, Music Canada’s President and CEO, Graham Henderson, appeared before the Standing Committee on Industry, Science and Technology (INDU) to provide testimony during the five-year statutory review of the Canadian Copyright Act. Henderson appeared before Standing Committee on Canadian Heritage two weeks prior to provide testimony on remuneration models for artists and creative industries. Below is the full-text of Henderson’s remarks before the INDU Committee.

 

Good afternoon and thank you for the opportunity to testify to this committee on behalf of Music Canada.

This committee’s review of the Copyright Act comes at a critical time for Canada’s creators. It is a time when governments around the world are questioning whether the current digital marketplace is functioning fairly for the world’s creators.

The reality for music creators in Canada is that there are provisions in our own Copyright Act that are preventing 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,” this is enormous, “and the revenues that are returned to the people and businesses who create it,” – it’s tiny.

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. The same is true for digital video content, film and even journalism.

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 to more than twenty years ago. It was the dawning of the digital marketplace and countries around the world struggled to reinterpret copyright laws that were designed for an analog age.

They wanted to protect creators, but they also wanted to give a boost to young technological startups and inevitably, perhaps understandably, mistakes were made.

Around the world, lawmakers and policy analysts thought of 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 devised.  Your web habits are meticulously tracked and the metadata that they generate is collected, analyzed and sold every second of the day, mostly without our consent or knowledge.

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 corporate entities, and what little is left over for creators is unfortunately concentrated into fewer and fewer hands. As a result, the creative middle class has virtually disappeared, and with it, numerous jobs, opportunities, and dreams.

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 Value Gap is built on outdated safe harbour policies around the world. The announcement made last week by Ministers Bains and Joly that the Telecommunications Act and the Broadcasting Act will be reviewed, is an important step and in line with an international movement to find a solution to this problem. Safe harbours have been raised by other witnesses, and I hope that the committee will give significant consideration to addressing them.

But right now, the Copyright Act is exacerbating the Value Gap by effectively requiring creators to subsidize billion dollar technology companies.  Here are four steps that this committee could recommend. They could be immediately, quickly implemented, and would help creators 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 of 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. The cost to creators since inception…$150 million dollars. Internationally, no other country has a similar subsidy, and the exemption does not apply for songwriters and publishers – meaning that performers and record labels are the only rights holders who are singled out to subsidize the commercial radio industry. This 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. The cost to creators? About $55 million dollars 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 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, and that is out of line with international standards.
  4. Private Copying: Renew Support for Music Creators
    Years ago, a private copying levy had been created, originally intended to be technologically neutral. It has been limited by various decisions to media that are 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 dollars.

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 simply and they can be done today.

This is an exciting time. As you review the Act, you have the opportunity to put creators at the heart of your policy making, ensuring that creators are paid every time their work is commercialized by others.

Thank you.

Comments
view

Artist advocacy takes centre stage at Midem 2018 during Value Gap event presented by Music Canada and IAEL

Entertainment lawyers have always played a crucial role in the success of their artist clients. But during Midem 2018, Miranda Mulholland urged them to take complimentary steps to empower artists and leverage their network to be connectors, helping to introduce, start discussions, and activate their artist clients.

Mulholland was the keynote speaker at a June 6 event hosted by Music Canada and the International Association of Entertainment Lawyers (IAEL) in Cannes, France. The Value Gap theme flowed through both this event and the launch of IAEL’s new book, Finding the Value in the Gap, later the same day.

Music Canada’s President and CEO Graham Henderson introduced Miranda and shared some opening remarks about Music Canada’s report The Value Gap: Its Origins, Impacts and a Made-In-Canada Approach and thoughts on the vital role of artist advocates.

Two representatives from IAEL, including President Jeff Liebenson and Anne-Marie Pecoraro, as well as Lodovico Benvenuti, Director of IFPI’s European Office, joined Mulholland for a panel discussion following her keynote.

In addition to discussing the IAEL’s brand new publication Finding the Value in the Gap, the international experts leading the charge to address the Value Gap in multiple territories discussed how artists have been instrumental in their campaigns, including a letter to European Commission President Jean-Claude Juncker. The letter was originally signed by more than 1,000 musicians and urges the Commission to address misapplied safe harbour provisions at the heart of the Value Gap to secure a sustainable and thriving music sector for Europe. Similarly, in Canada, more than 3,650 Canadian artists and creators have now signed the Focus On Creators letter to Heritage Minister Mélanie Joly calling on the government to put creators at the heart of future policy.

Guests at the Midem event included influential Canadian and international delegates, as well as members of the legal community, media outlets and European leaders in addressing the Value Gap.

You can watch the full keynote and panel discussion below.

Below is a selection of photos from the event and more information on Finding the Value in the Gap will be available on the IAEL website.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Comments
view

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.

Comments
view

Music Canada applauds 2018 Federal Budget

Music Canada is pleased to see that the 2018 federal budget, which was tabled yesterday in the House of Commons by Minister of Finance Bill Morneau, further illustrates the Government’s commitment to reforming the Copyright Board of Canada.

Budget 2018 advances the Government’s Intellectual Property Strategy, as well as outlines measures to modernize Canada’s regulatory frameworks. Recognizing the need to promote efficient and predictable regulation within these frameworks, the Budget proposes support for the Government to “pursue a regulatory reform agenda focused on supporting innovation and business investment.” The Budget also correctly states that for “Canadian companies to grow and thrive in the global marketplace, they also need a competitive and predictable business environment that supports investment.”

In the music sector, this is particularly true at the Copyright Board. The rates set by the Board directly impact the value of music, and the ability for creators and labels to commercialize their work and investment. Music Canada has been a lead advocate for reforming the Copyright Board. We participated in both the Senate hearings on the Copyright Board, and the Standing Committee on Canadian Heritage’s Review of the Canadian Music Industry, appearing as a key stakeholder in favour of full and meaningful reforms. Music Canada’s Graham Henderson also raised the issue in a recent Policy Options op-ed, and cited the need for reform of the Copyright Board as a first priority for government to modernize in a speech before the Economic Club of Canada.

“Reforming the Copyright Board of Canada has for years been a top priority for creators and the businesses that support them,” says Music Canada President & CEO Graham Henderson. “Music Canada extends our appreciation to the Government, particularly Ministers Bains and Joly, for taking the next step in modernizing this institution, which is vital for Canada’s cultural industries.”

Budget 2018 is great news for a more timely, efficient, and predictable Copyright Board. We look forward to working with Ministers Navdeep Bains and Mélanie Joly to make this a reality.

Comments
view

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

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

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

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

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

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

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

-30-


For more information:
Corey Poole, Music Canada
cpoole@musiccanada.com
+1 (647) 808-7359

About Music Canada
Music Canada is a non-profit trade organization that represents the major record companies in Canada: Sony Music Entertainment Canada, Universal Music Canada and Warner Music Canada. Music Canada also works with some of the leading independent record labels and distributors, recording studios, live music venues, concert promoters, managers and artists in the promotion and development of the music cluster. For more on Music Canada, please visit www.musiccanada.com

Comments
view

Breakthrough collaboration between Bell Media, Music Canada and Re:Sound creates international gold standard with music creators at its heart

 

Toronto, Dec 6, 2017: Advancements in cross-platform reporting have ushered in a new era of cooperation between Canada’s music and media industries. Developed by Bell Media, Music Canada and Re:Sound, the new process aligns terrestrial broadcast data with digital, ensuring all music industry stakeholders are served with efficiency, transparency, and accountability, while setting a new industry standard for data reporting. With this game-changing initiative by Bell Media, the automation of the existing music content distribution tool allows the industry to streamline sound recording data within the Canadian music ecosystem.

The new system is part of an ongoing project to develop administrative efficiencies by Music Canada and Re:Sound. Through consolidating multiple data sets, maximizing the use of ISRC (International Standard Recording Codes), and other improvements, the project has so far resulted in faster payouts and 28% more revenue for major labels and members of CIMA (the Canadian Independent Music Association).

Beginning with a successful pilot program of the new system by Toronto’s 104.5 CHUM FM in early 2017, Bell Media radio stations are now tracking complete sound recording data including ISRC automatically on new tracks from major record labels and independent label partners. With the elimination of manual processes, the new reporting system has resulted in cleaner data, which significantly benefits all rights holders in the Canadian music industry including artists, background musicians, songwriters, and music publishers, through organizations (SOCAN, CMRRA, SODRAC, etc.) relying on broadcast data to get royalties to rights holders.

“I commend Bell Media, and specifically Randy Lennox, for showing remarkable leadership on this project,” says Graham Henderson, President and CEO of Music Canada. “Thanks to this collaboration, achievements in data efficiency from projects completed by the major record companies and Re:Sound will now yield even greater results, generating savings throughout the royalty chain, while resulting in more dollars in the pockets of creators.”

“As someone with love for Canada’s music industry, I am thrilled by the results of this project,” said Randy Lennox, President, Bell Media. “When Music Canada’s Graham Henderson approached us to help resolve what has been a longstanding issue within Canada’s music industry, it was an easy decision to lend Bell Media’s resources and expertise. The automation of the tracking process establishes international best practices that benefit creators while making the entire system considerably more efficient.”

“At Re:Sound, we only exist for the artists and sound recording owners we represent,” says Ian MacKay, President of Re:Sound. “Ensuring that the absolute best quality data flows through the entire music ecosystem is a huge step forward for rights holders, and will help us (and other organizations) to ensure that we pay the right people as quickly and efficiently as possible. We couldn’t have done this without the strong leadership of Bell Media and Music Canada.”

 

-30-

 

For more information:

Siobhan Özege, Re:Sound
sozege@resound.ca
+1 (416) 968-8870 ext 369

Corey Poole, Music Canada
cpoole@musiccanada.com
+1 (647) 808-7359

Renee Dupuis-Macht, Bell Media
Renee.dupuismacht@bellmedia.ca
+1 (416) 384-3154

 

About Re:Sound
Re:Sound is the Canadian not-for-profit music licensing company dedicated to obtaining fair compensation for artists and record companies for their performance rights.  Re:Sound advocates for music creators, educates music users, licenses businesses and distributes public performance and broadcast royalties to creators – all to help build a thriving and sustainable music industry in Canada. For more on Re:Sound Music Licensing, please visit www.resound.ca

 

About Music Canada
Music Canada is a non-profit trade organization that represents the major record companies in Canada: Sony Music Entertainment Canada, Universal Music Canada and Warner Music Canada. Music Canada also works with some of the leading independent record labels and distributors, recording studios, live music venues, concert promoters, managers and artists in the promotion and development of the music cluster. For more on Music Canada, please visit www.musiccanada.com

 

About Bell Media
Bell Media is Canada’s leading content creation company with premier assets in television, radio, out-of-home advertising, and digital media. Bell Media owns 30 local television stations led by CTV, Canada’s highest-rated television network; 30 specialty channels, including TSN and RDS, and four pay TV services, including The Movie Network and Super Écran. Bell Media is also Canada’s largest radio broadcaster, with 215 music channels including 105 licensed radio stations in 54 markets across the country, all part of the iHeartRadio brand and streaming service. Bell Media owns Astral Out of Home with a network of more than 30,000 advertising faces in British Columbia, Alberta, Ontario, Québec, and Nova Scotia. Bell Media also operates more than 200 websites; delivers TV Everywhere with its CraveTV and GO video streaming services; operates multi-channel network Much Digital Studios; produces live theatrical shows via its partnership with Iconic Entertainment Studios; and owns Dome Productions Inc., a multi-platform production company. Bell Media is part of BCE Inc. (TSX, NYSE: BCE), Canada’s largest communications company. For more on Bell Media, please visit www.bellmedia.ca.

Comments
view

Playback 2017: Music Canada President’s Award presented to Cory Crossman and Chris Campbell

The Music Canada President’s Award is presented to an individual working outside the music community who displays a deep passion for music and the people who make it.

The recent past has been filled with many firsts and milestones for music in London, Ontario. The city hosted an incredibly successful Country Music Week and the CCMA Awards in September 2016; completed its first ever music census; has taken steps to modernize noise bylaws for music and dancing on outdoor patios; and on November 17, will host its first Music Career Day. Credit for these outstanding accomplishments is due not only to one individual, but two passionate community leaders.

At Playback 2017, Music Canada’s annual industry dialogue and celebration, London’s Music Industry Development Officer, Cory Crossman, and Chris Campbell, Director of Culture and Entertainment Tourism at Tourism London, were both presented with the 2017 President’s Award for their incredible commitment to making London a Music City.

The first ever President’s Award was presented to Mark Garner, Executive Director of Downtown Yonge BIA in 2015.

Watch below as Chris Campbell and Cory Crossman accept their awards, presented by Music Canada’s President and CEO, Graham Henderson.

News of the award presentation received cheers and praise on social media.

https://twitter.com/_woodbethany/status/920702993896321024

Below is a selection of photos from the award presentation.

Comments
view

Graham Henderson launches Music Canada’s first-of-its-kind Value Gap report at Playback 2017

Music Canada’s annual industry dialogue and celebration, Playback, took place on October 17. The headlining portion of this year’s event was the launch of Music Canada’s latest research report The Value Gap: It’s Origins, Impacts and a Made-In-Canada Approach. This new report is the first comprehensive collection of information about the Value Gap, and the solutions available to Canadian policy makers.

At Playback 2017, Music Canada’s President and CEO, Graham Henderson, shared highlights from the report and described the four concrete recommendations contained within for the Government of Canada to address the Value Gap plaguing Canadian music creators and other cultural industries.

Watch the full video below:

The Value Gap is the most pressing global phenomenon hurting creative industries, including publishing, journalism, film and television production, and music. It is an issue of critical importance to the current and future health of Canadian culture, our nation’s cultural industries, and the creators of our cultural works.

Many of our creative industry partners affected by the Value Gap, some of whom are supporting partners in the Focus On Creators coalition, attended Playback and shared their reaction to the report:

Below is a selection of photos from the launch of the report.

Comments
view

Graham Henderson’s introductory remarks from Ontario Provincial Arts Education Roundtable

Below are introductory remarks delivered by Music Canada’s President and CEO, Graham Henderson, at the Provincial Arts Education Roundtable hosted by the Ontario Ministry of Education and Ministry of Tourism, Culture and Sport on October 16, 2017.

It sometimes feels today as though the liberal arts and the humanities are under siege. Right across the United States, Republican governors are rolling back support for state universities that offer liberal arts education. And we must be vigilant – because if it can happen there, it can happen here.

Culture and the arts are worth fighting for. The poet Percy Bysshe Shelley believed that the arts can reform the world.  He developed a theory of the imagination.  He believed that what he called the “cultivated imagination” can see the world differently – through a lens of love and empathy.  And how do you get one of those “cultivated imaginations”? Well through exposure to culture.

Now, it might be said that we live in a technology obsessed world.  And you, know, Percy’s wife, Mary had something to say about that.  She wrote Frankenstein, a book whose central message seems to be that the unmediated, unexamined introduction of technology into our lives is fraught with risk and danger. It can, not always, but it can create monsters.

Poets today continue to operate in this tradition.  If you don’t know the Texan poet and performance artist Arielle Cottingham, you should. Cottingham, now living in Melbourne, won the 2016 edition of the Australian Poetry Slam with an electrifying performance. She was recently interviewed for the magazine ArtsHub. In an article meaningfully entitled, “Why We Need Poets More Than Ever Before”, Cottingham cited Shelley as an inspiration for her work and pointed to his famous comment in A Defense of Poetry: Poets are the unacknowledged legislators of the world.

Shelley used the term “legislator” in a special sense. Not as someone who “makes laws” but as someone who is a “representative” of the people. In this sense creators must be thought of as the voice of the people; as a critical foundation of our society and of our democracy. They offer insights into our world and provide potential solutions – they underpin our future.

Cottingham agrees and explained it this way:

[Shelley] argues that poets are the moral barometers of their times and circumstances – and look at the well-known poets today. Bob Dylan is lauded as the voice of a generation. Maya Angelou elevated the voice of the black woman to an unprecedented visibility. Gil Scott Heron wrote a single line of poetry so prescient that it became more famous than he himself did – “The revolution will not be televised.” To quote Miles Merrill, “poets are more honest than politicians.”

A liberal arts education and an education in the humanities – STEM blended into STEAM – is therefore essential to a healthy society and one that is governed by empathy and love.

Comments
view

World’s largest music stream ripping website to cease operations globally following legal action

IFPI, in conjunction with the RIAA and BPI, announced today that following successful legal action from record companies in the United Kingdom and the United States, the world’s largest music stream ripping website will shut down.

YouTube-mp3.org, a Germany-based site with 60 million visitors a month, facilitated the ripping of downloadable music files from online audio-visual works. Sites like YouTube-mp3.org typically extract large profits from advertising while delivering nothing to music makers. IFPI estimates the site generated “hundreds of thousands of dollars in advertising revenue per month, often from major brands.” In addition to agreeing to cease operations, the site’s operator has agreed to not infringe the rights of artists and labels in the future.

“The largest site dedicated to the fastest growing form of music piracy is shutting down. This is welcome news for music creators and the fans that support them,” says Graham Henderson, President and CEO of Music Canada. “Artists and advocates around the world are fighting for a better future for creators. As we continue to work with governments and legitimate music services to build a functioning ecosystem, it’s important that flagrant violations like stream ripping be met with firm action.”

In a joint release issued by IFPI, the RIAA and BPI, industry leaders welcomed the news:

“Stream ripping sites blatantly infringe the rights of record companies and artists,” said IFPI Chief Executive Frances Moore. “Today, music companies and licensed digital services work together to offer fans more options than ever before to listen to music legally, when and where they want to do so – hundreds of services with over 40 million tracks – all while compensating artists and labels. Stream ripping sites should not be allowed to jeopardise this and we will continue to take action against these sites.”

“This is a significant win for millions of music fans, as well as music creators and legitimate music services,” said Cary Sherman, Chairman and CEO, RIAA. “One of the world’s most egregious stream ripping sites has shuttered. Sites like these undermine the health of the legitimate marketplace and the livelihoods of millions of music creators worldwide. The swift and successful conclusion of this case should send an unmistakable signal to the operators of similar sites.” 

“This illegal site wasn’t just ripping streams, it was ripping off artists,” said Geoff Taylor, Chief Executive BPI. “Most fans understand that getting music from a genuine site supports the artists they love and allows labels to nurture the next generation of talent.  Music stands on the cusp of an exciting future in the streaming age, but only if we take resolute action against illegal businesses that try to siphon away its value.”

Piracy, and particularly stream ripping, remains a significant concern in Canada. A survey commissioned by IFPI in 2016 found that 27% of Canadian respondents reported pirating music, and 22% reported doing so via stream ripping. The age group most likely to use stream ripping sites was 16-24 year-olds, with 48% reporting doing so in the past year. While Youtube-mp3.org was the largest stream ripping site, the industry hope is that this legal action will send a clear message to other sites still in operation that they are breaking the law, and will face similar action if they do not shut down.

Comments
Page 1 of 812345...Last »

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