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Music Canada Applauds Government of Canada for Moving Forward on Copyright Board Reform

Oct. 30, 2018, Toronto: Music Canada is pleased to see the Government of Canada has taken concrete action to support Canadian creators and the labels that invest in them through reforms to the Copyright Board of Canada. The changes, which were tabled yesterday in the Budget Implementation Act, 2018, No. 2, will make the Board’s processes faster, more efficient, and more predictable.

“Music Canada thanks the Hon. Navdeep Bains for his vision on these changes, and for his leadership throughout the Copyright Board reform process,” says Graham Henderson, President and CEO of Music Canada. “A modernized Copyright Board will mean a more predictable and transparent process for all participants, which will support royalty rate-setting that better reflects the true value of music in a functioning marketplace. By ensuring a more efficient regulatory environment, these changes will help put more money in creators’ pockets and strengthen Canada’s economic competitiveness.”

Copyright Board reform has long been a priority for the music sector, as the rates set by the Board directly impact the value of music and the amount that artists and labels receive for their music and investments. Music Canada has been a leading advocate for reform, having participated in the Senate hearings on the Copyright Board, the government consultation on reforming the Board, and the Standing Committee on Canadian Heritage’s Review of the Canadian Music Industry, each time appearing as a key stakeholder in favour of full and meaningful reforms.

By implementing these changes, the Government is following through on their commitment made in the 2018 federal budget, which proposed a new Intellectual Property Strategy that enables economic growth. A reformed Copyright Board will create a more competitive and predictable business environment that supports investment in the creative industries, fostering innovation in the cultural sector.

Music Canada looks forward to seeing the final details on the implementation of these changes and working with the government to implement this innovative agenda for the Copyright Board of Canada.

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


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

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Playback 2018: Loreena McKennitt receives the Music Canada Artist Advocate Award

At Playback 2018, Music Canada’s annual industry dialogue and celebration, renowned Canadian musician and record label owner Loreena McKennitt was honoured with the Artist Advocate Award in recognition of her long-time advocacy for musicians’ rights.

The Artist Advocate Award was introduced at Playback 2017. Now in its second year, the award recognizes musicians and songwriters for their outstanding advocacy efforts to improve the livelihoods of music creators.

Music Canada President and CEO Graham Henderson presented McKennitt with the award, remarking:

“Loreena, as everyone in this room knows, is an internationally successful artist entrepreneur.  She founded her record label Quinlan Road in 1985, and since then, her music has received critical acclaim worldwide with sales of 14 million records globally.

Throughout her illustrious career, and from the day she chose to retain her master rights, and do it her own way, she has been a passionate, devoted advocate for musicians’ rights.

Her testimonies and submissions to parliamentary hearings have, over the years, demonstrated her deep business and political acumen, and has influenced real change making her a force to be reckoned with.

She is also a dedicated human rights advocate, a generous philanthropist, she established the Cook-Rees Memorial Fund in 1998.

I had the privilege of working for Loreena for almost 10 years and we have remained friends ever since. So in recognition of her unwavering public support for the rights of music creators, we are proud to present Loreena McKennitt with our 2018 Music Canada Artist Advocate Award.”

 

McKennitt graciously accepted the award, remarking on her career path and the impact that music has had on people across the globe. In her acceptance speech, she stated:

“Well, thank you very much Graham for this, as well as Music Canada. It is unexpected but also, I feel there are others who are equally, if not more, deserving.

It is true that my career path began in earnest around 1990 and it was at that time that I found Graham and he helped mastermind what became to some, a famous Warner deal. And he was an educator for me and an advocate as well as someone who really showed me a lot of the path forward.

I grew up in Southern Manitoba in a German Mennonite community and music was central to our lives. Not so much in a professional sense, but in terms of a living, breathing medium that means so much to us as a species. The fact that I set out to be a veterinarian and ended up in the music industry certainly speaks to the fact that you can set out on a journey and not know where you will end up.

But it is my sincere hope that through gatherings, such as today, and the minds of people who are really leaning against the wheel, that we can change for the better. All those who enjoy music are enriched by it, healed by it, entertained by it. And to protect that realm of music in their lives, we have as an industry, it’s not all about us, it’s all about other people and people we sometimes call the consumer. But when I meet them I hear people who have been genuinely changed through the medium of music.

So, I thank you all once again for being here this afternoon and thank you very much for this recognition. I will continue to be whatever support I can until I hang up my shoes. Thank you.”

Video of the award presentation and McKennitt’s acceptance speech is embedded below.

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Playback 2018: Josh Colle recognized with Music Canada President’s Award

On Tuesday, October 16th, Music Canada President and CEO Graham Henderson presented Josh Colle, lifelong music fan and outgoing Toronto City Councillor, with the Music Canada President’s Award. The announcement was made at Playback 2018, Music Canada’s annual industry dialogue and celebration, which took place at The Great Hall.

The Music Canada President’s Award is presented to an individual outside of the music community who exhibits a deep passion for music and the people who make it, and who has had a considerable impact on the music industry.

Colle has exemplified those qualities in his role as City Councillor for Ward 15. Since being elected in 2010, Colle has been known as “the music guy” on Council – first unofficially, as a frequent concertgoer, and then officially, in his role as Co-Chair of the Toronto Music Advisory Council (TMAC).

Colle “has been the most stalwart champion of our industry at City Hall,” said Henderson, noting that Colle formed the first task force for music at City Hall, which later evolved into TMAC.

“In his ward, Josh has tirelessly advocated for increased arts and music programming, connected youth with music grant opportunities and industry mentors, and spearheaded efforts to celebrate Toronto’s reggae music history with the creation of Reggae Lane,” continued Henderson. “It is my absolute honour to present the 2018 Music Canada President’s Award to Josh Colle.”

“As a lifelong fan and supporter or Toronto’s amazing music scene I am honoured to be recognized by Music Canada,” said Colle. “We have made so much progress, have so much to be proud of, and I look forward to continuing to support music in Toronto.”

Through his passion for music, Colle has helped change the way that City Hall views Toronto’s music scene. Where it was once an afterthought in terms of planning and policies, today departments like Municipal Licensing, City Planning, Public Library, Emergency Services, Toronto Parks and more have consulted the industry and consider its needs as they conduct their work.

Colle was an early champion of the City of Toronto Music Office, the Toronto Music Strategy, the Toronto/Austin Music City Alliance, and provided crucial leadership on the protection of live music venues. Recognizing that rapid gentrification and development in Toronto could threaten the city’s live music venues, Colle presented a motion to help protect Toronto’s existing venues, and foster an environment to help new venues become established.

One of Colle’s proudest achievements as Councillor was the establishment of Reggae Lane, which recognizes the rich music heritage of Eglinton Avenue West. After helping rename the roadway near Eglinton Avenue and Oakwoods Avenue, Colle commissioned the largest reggae-themed mural anywhere in Canada to pay tribute to the musical icons that made the area the second-largest hub for reggae music after Kingston, Jamaica. The 1,200 square foot mural, painted by local artist Adrian Hayles, depicts artists Pluggy Satchmo, Bernie Pitters, Leroy Sibbles, Lord Tanamo, Jay Douglas, and more.

Watch the video below as Councillor Colle accepts the award, presented by Music Canada’s President and CEO, Graham Henderson.

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Release: Music Canada commits to diversity and equality with changes to governance structure

October 16, 2018, Toronto: Today at Music Canada’s annual industry dialogue and celebration, Playback 2018, President and CEO Graham Henderson announced the results of a year-long comprehensive governance review to ensure organizational excellence and representation at the company. The review has resulted in three concrete actions to promote diversity and equality.

Music Canada’s Board of Directors has approved the addition of two new, independent members who will assume the positions of Director and Chair.  Between them, these women bring to the Board outstanding expertise in corporate governance, finance and accountability, government relations, and general business. This change will improve representation of women on Music Canada’s Board of Directors to 40%.

Music Canada has also adopted a Diversity Policy that will guide the organization in governance decision-making, and Music Canada will constitute an Industry Advisory Group that will provide an inclusive forum to give voice to diverse constituencies in the music industry. The Industry Advisory Group will report to the President & CEO and will provide input into our programs and policies.

“We all have a responsibility, as individuals and organizationally, to align our practices with our values,” says Graham Henderson. “Music Canada and our members are committed to inclusion and equality, but change at the governance level can be the slowest to happen organically. With the changes we’ve announced today, our core values will be reflected at every level of our organization, ensuring balanced decision-making resulting in competitive advantage.”

Music Canada looks forward to announcing more details of its governance review as they become available.

 

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

 

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

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Unanimous U.S. Senate support for Music Modernization Act is further evidence Canada must act to close the Value Gap

Music Canada joins our American counterparts in applauding the United States Senate following its unanimous passage of the Music Modernization Act (MMA) yesterday evening. The MMA, which was broadly supported by music organizations across the United States, is a comprehensive bill that includes the CLASSICS Act, legislation that guarantees artists and labels who recorded music before 1972 a federal right to be paid for those recordings when played by digital radio outlets.

The U.S. music community was united in its support of the MMA, with organizations such as the Recording Industry Association of America, the National Music Publishers Association, ASCAP, SoundExchange, musicFIRST, and the Recording Academy advocating strongly for the bipartisan bill. Thousands of artists spoke up in support of the legislation, including Roseanne Cash and Dionne Warwick, who advocated for the bill in the House of Representatives; Smokey Robinson, who testified at the U.S. Senate; and Maren Morris and Adam Levine, who were vocal supporters of the bill on social media.

“We congratulate all of the artists and advocates who spoke up so passionately in support of the Music Modernization Act. As we saw with the European Parliament vote, governments are listening to creators and recognizing the need to update the legislation that affects their careers,” says Graham Henderson, President and CEO of Music Canada.

“In the past week, we have seen overwhelming support for this type of legislation from Canada’s two largest trading partners, further underlining the need for Canada to follow through with meaningful reforms,” adds Henderson. “Our government has heard from creators – the Value Gap is an urgent issue that must be addressed. It’s now time for our government to seize the opportunity and close the Value Gap in Canada.”

Music Canada has been the leading advocate for addressing the Value Gap in Canada. Our recent report, The Value Gap: Its Origins, Impacts and a Made-in-Canada Approach, examines the Value Gap and its causes, and demonstrates how it impacts artists, businesses and our nation’s cultural foundations, with a particular focus on music. The report includes recommended steps that Canada’s federal government can take today to address the inequities that artists face due to the Value Gap.

Music Canada is encouraged by the progress made in the U.S. and EU, and remains committed to continuing to work with the government of Canada to close the Value Gap here at home.

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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.

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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.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Graham Henderson’s testimony at the Standing Committee on Canadian Heritage’s study of Remuneration Models for Artists and Creative Industries

Earlier today Music Canada’s President and CEO, Graham Henderson, appeared before the Standing Committee on Canadian Heritage to provide testimony on remuneration models for artists and creative industries as part of the Copyright Act review. Below is the full-text of Henderson’s remarks.

 

My name is Graham Henderson, and I am the President and CEO of Music Canada. We are a passionate advocate for music and those who create it.

I am very pleased to see the Heritage Committee studying remuneration models for artists and creative industries. This is an aspect of the music industry ecosystem that I, and Music Canada, have for years been working to modernize. Creating a functioning marketplace where creators receive fair compensation for the use of their works forms the bedrock of our mission.

But the reality for Canadian music creators is there are provisions in our own Copyright Act that prevent them from receiving fair market value for their work.

I believe the best way that this committee can assist in creating a marketplace that is transparent and supports Canadian creators is by providing the government with straightforward, accessible solutions to address the Value Gap.

Music Canada produced a comprehensive report on the Value Gap in Canada which you will find in French and English in front of you.

We define the Value Gap as “the significant disparity between the value of creative content that is accessed and enjoyed by consumers, and the revenues that are returned to the people and businesses who create it.”

Today, more music is consumed than at any time in history. However, the remuneration for that content has not kept pace with the record levels of consumption.

I was pleased to hear Minister Joly recognize this point earlier this year, when she stated:

“The benefits of the digital economy have not been shared equally. Too many creators, journalists, artists have been left behind.”

The origins of the Value Gap extend back more than two decades to a time when countries around the world, including Canada, began adapting and interpreting laws created in another era to protect common carrier telephone companies in the then-dawning digital marketplace.

Around the world those laws understood the internet as a series of “dumb” pipes where your browsing habits were anonymous and the data travelling between sites was so vast it was unknowable. But twenty years later we know the Internet is composed of the “smartest pipes” humankind has ever made.  Your web habits are meticulously tracked and the metadata that it generates is collected, analyzed and sold every second of everyday.

While well-intentioned when they were created, the impact of these laws today is that wealth has been diverted from creators into the pockets of massive digital intermediaries, and what little is left over for creators is concentrated into fewer and fewer hands. As a result, the creative middle class is disappearing, if it hasn’t disappeared already, and with it, numerous jobs and opportunities.

There is no need to point fingers. No one planned for the creative middle class to suffer. The important thing at this juncture is to move forward purposefully and without delay to get the rules right. You should make absolutely certain that Canada’s Copyright Act ensures a creator’s right to be fairly remunerated when their work is commercialized by others.

The foundation of the Value Gap is outdated safe harbour policies and exceptions – all around the world. A safe harbour, by the way, is a way to limit the liability of an intermediary and allow music to be consumed without payment. I know that Ministers Joly and Bains are working on this issue and having conversations with their international counterparts to find a solution to this problem.

But here in Canada, there are particular laws that exacerbate the Value Gap by effectively requiring individual creators to subsidize billion dollar commercial technology companies.  Here are four steps that this committee could recommend immediately that would help creators immediately and harmonize Canadian policy with international standards:

  1. Remove the $1.25 Million Radio Royalty Exemption
    Since 1997, commercial radio stations have been exempted from paying royalties on their first $1.25 million in advertising revenue. It amounts to an $8 million annual cross-industry subsidy paid by artists and their recording industry partners to large, vertically-integrated and highly profitable media companies. Internationally, no other country has a similar subsidy, and the exemption does not apply for songwriter and publisher royalties – meaning that performers and record labels are the only rights holders whose royalties are used to subsidize the commercial radio industry. The exemption is unjustified and should be eliminated.
  2. Amend the Definition of ‘Sound Recording’ in the Copyright Act
    The current definition of a “sound recording” in the Copyright Act excludes performers and record labels from receiving royalties for the use of their work in television and film soundtracks. This exception is unique to television and film soundtracks, and does not apply to composers, songwriters and music publishers. It is inequitable and unjustified, particularly in light of the profound role music plays in soundtracks, and it is costly to artists and record labels, who continue to subsidize those who exploit their recordings to the tune of $55 million per year. The Act should be amended to remove this cross-subsidy.
  3. Amending the term of copyright for musical works
    The term of copyright protection in Canada for the authors of musical works is out of line with international copyright norms. Under the Copyright Act, protection for musical works subsists for the duration of the author’s life plus a further period of 50 years. By contrast, the majority of Canada’s largest trading partners recognize longer copyright terms for musical works, and a general standard of the life of the author plus 70 years has emerged. I note that a vice-chair of this committee, Mr. Van Loan, introduced a Private Members bill on this issue and we thank you for your support.
  4. Private Copying: Renew Support for Music Creators
    The private copying levy, originally intended to be technologically neutral, has been limited by various decisions to media that are effectively obsolete.  This important source of earned income for over 100,000 music creators is now in jeopardy unless the regime is updated. Music creators are asking for the creation of an interim four-year fund of $40 million per year. This will ensure that music creators continue to receive fair compensation for private copies made until a more permanent, long-term solution can be enacted.

Each of these changes removes an unfair subsidy, harmonizes the laws within our industries and brings us to international standards, and they can be done today.

As the creative community anxiously awaited this review of the Copyright Act, an organization called Focus On Creators sent Minister Joly a letter that has now been signed by more than 3,650 Canadian creators.  In that letter, the creators discussed their concerns with the Value Gap and how the Value Gap is causing the middle-class artist to disappear in Canada. The creators’ letter concludes with a message I hope you will take to heart, “We know you understand the cultural significance of our work; we hope you also see its value and crucial place in Canada’s economy. We ask that you put creators at the heart of future policy.”

Thank you.

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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.

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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.”

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

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

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