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Tag archive: Ontario Music Fund (20)

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OMDC Announces Information Sessions for Ontario Music Fund Live Music Stream

The Ontario Media Development Corporation (OMDC) has issued a call for applications for the Live Music stream of the Ontario Music Fund (OMF), and announced an information session and a webinar session for interested applicants.

An important update to the 2015-16 program is that the Ontario Music Office now accepts a single Live Music stream application that can include funding requests for Category A: Live Music Performance & Programming and Category B: Business Development activities. The OMDC guidelines state that applicants can apply to one, or both, categories in the same application.

As per the Live Music stream guidelines, Category A: Live Music Performance & Programming covers “investments to support the development, marketing and staging of eligible concerts, live music events, music festivals and tours in Ontario based on project proposals centred on specific performance activities.” Category B: Business Development covers “funding for Ontario-based companies in the live music business to develop their business capacity and accelerate the growth of live music in the province by obtaining training, consulting and other business services, expanding their staff, and researching/developing new market opportunities.”

The guidelines note that each category has a distinct activity budget, activity plan, and set of application questions. Applicants are required to submit documentation for all categories they apply for.

The deadline for applications in the Live Music stream is May 11, 2015, by 5:00pm. The OMDC will be hosting an information session on March 31, 2014, and a webinar session on April 14, 2015. Registration is required for both sessions. Interested applicants can register now for the information session and webinar.

Last month, the OMDC announced information sessions for the Music Company Development and Music Futures streams, as well as key dates for all four streams of the Ontario Music Fund.

For more information on the Ontario Music Fund, visit the program’s overview on the OMDC website, or contact the OMF Program Coordinator at OMF@omdc.on.ca.

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OMDC Announces Information Sessions for OMF Music Company Development and Music Futures Streams

The Ontario Media Development Corporation (OMDC) has issued a call for applications for the Music Company Development and Music Futures streams of the Ontario Music Fund (OMF), and announced information and webinar sessions for both streams.

The Music Company Development stream of the OMF is intended to provide Ontario-based music companies with funding to support new or expanded business activities, including strategic business and market development, in the form of investments and undertakings.

The deadline for applications in this stream is May 7, 2015, by 5:00pm. The OMDC will be hosting an information session on March 11, 2015, and a webinar session on April 8, 2015. Registration is required for both sessions. Interested applications can register now for the information session and webinar.

Full guidelines for the Music Company Development stream are available on the OMDC website.

 

The Music Futures stream of the OMF is aimed at stimulating entrepreneurship and providing support to develop Ontario’s diverse and emerging music industry, including artist entrepreneurs which have the potential to grow professionally if provided with business mentoring, skills development and working capital to expand their recording, touring or A&R (artist and repertoire) capacity.

The deadline for applications in this stream is May 14, 2015, by 5:00pm. The OMDC will be hosting an information session on March 23, 2015, and a webinar session on April 1, 2015. Registration is required for both sessions. Interested applications can register now for the information session and webinar.

Full guidelines for the Music Futures stream are available on the OMDC website.

 

Earlier this month, the OMDC announced key dates for all four streams of the Ontario Music Fund.

For further information on the Ontario Music Fund, visit the program’s overview on the OMDC website, or contact the OMF Program Coordinator at OMF@omdc.on.ca.

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OMDC announces key dates for Ontario Music Fund Program Year 3

The Ontario Media Development Corporation (OMDC) has announced the key dates for year 3 of the Ontario Music Fund.

Timelines and deadlines for the four streams of the Ontario Music Fund are as follows. The OMDC noted that key dates for each stream vary, and all dates may be subject to change.

OMF Music Company Development Stream

  • Guidelines and Application Launch: February 26, 2015
  • Deadline: May 7, 2015
  • Activity Period: July 1, 2015 – July 31, 2016

OMF Live Music Stream

  • Guidelines and Application Launch: March 10, 2015
  • Deadline: May 11, 2015
  • Activity Period: July 1, 2015 – August 31, 2016

OMF Music Futures Stream

  • Guidelines and Application Launch: February 26, 2015
  • Deadline: May 14, 2015
  • Activity Period: May 1, 2015 – August 31, 2016

OMF Music Industry Development Stream

  • Guidelines and Application Launch: March 16, 2015
  • Rolling Deadline: Applications accepted from launch through October 29, 2015
  • Activity Period: April 1, 2015 – May 31, 2016

The OMDC also announced that information and webinar sessions on the OMF will be held in March and April 2015. Details and registration will be posted on the OMDC website in the coming weeks.

For further information on the Ontario Music Fund, visit the OMDC’s website at http://www.omdc.on.ca/music/the_ontario_music_fund.htm.

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Ontario Music Fund creating ‘Snowball Effect’ for artist development at Warner Music Canada

Last week, Toronto-based singer/songwriter Scott Helman released his new music video for “Bungalow”, which was filmed on location in Scugog, Ontario and supported by the Ontario Media Development Corporation (OMDC)’s Ontario Music Fund. The video was shot over 2 days and featured a cast and crew of approximately 25 people.

Helman’s debut EP, Augusta, was released earlier this year on Warner Music Canada, and was also supported by the Ontario Music Fund. Through this support, the Ontario Music Fund is helping to launch the career of a new artist, said Warner Music Canada’s Chris Moncada, creating a “snowball effect” which will pay dividends for many years.

“The record and the videos trigger a cycle that sets many layers of employment opportunities into motion,” said Moncada. “The record and videos create the momentum for a tour, which creates a ripple effect. That ability to tour will provide activity for everyone from agents and promoters, to venue operators, sound technicians, bartenders, and parking lot attendants across Ontario. With Scott going on tour throughout the fall and into next year, this cycle is only beginning – it could move the needle for 18 to 24 months going forward”

Helman’s “Bungalow” is the latest video that Warner Music Canada’s artists have created with support from the Ontario Music Fund. Earlier this year, Canadian country artist Brett Kissel shot and filmed videos for “Tough People Do” and “Something You Just Don’t Forget” in Toronto. The songs are featured on Kissel’s 2013 album “Started With A Song”, and are the fourth and fifth videos borne out of the album. The first three videos were filmed in Nashville and Los Angeles, but the creation of the Ontario Music Fund helped make the case to move filming of the latter two videos to Ontario. Both of the videos featured a cast and crew of 15 to 20 people, working approximately 15 hours on each shoot.

The Fund also supported the creation of Mississauga punk rock band Billy Talent’s “Show Me The Way” video, which was filmed in Ontario and required approximately 15 full day crew.

“The Ontario Music Fund helped facilitate these videos, which might have otherwise been shot in a different province or country” said Moncada. “It has a real trickle-down effect that helps support video production jobs in Ontario, creating a day’s work for everyone from the actors and techs, to the caterers and truck drivers, and beyond.”

In addition to the videos, Warner Music Canada has leveraged the Ontario Music Fund to further the careers of Canadian artists such as Measha Brueggergosman.

“With Measha Brueggergosman, the OMF was integral in the creation of her upcoming Christmas album” said Moncada. “She is a Canadian star with worldwide appeal, so we’re really excited to see the reception to this record as we move into the holiday shopping season.”

In addition to videos and domestic recording, Warner Music Canada has leveraged the Ontario Music Fund to further the international careers of Canadian artists such as Kitchener Ontario’s Courage My Love.

“With Courage My Love, the OMF allowed us to invest in expanded marketing and publicity in the U.S. while the band was on the Vans Warped Tour this past summer. This directly contributed to the band having some of the highest merchandise sales on the tour for developing acts,” said Moncada. “On the strength of the Warped Tour response, the band has booked a headlining tour of clubs across America.  After these shows the band will come back to Ontario to work on their next record – again, it’s that snowball effect.”

The examples from Warner Music Canada illustrate that through targeted support, the Ontario Music Fund is driving activity in Ontario studios, production houses, and music companies, as well as increasing opportunities for Canadian artists to build their careers in Ontario, Canada, and internationally. For more information on the Ontario Music Fund, see the overview on the OMDC website.

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Ontario Government launches Live Music Portal and announces recipients of the first year of the Ontario Music Fund

Today, the Hon. Michael Coteau, Ontario’s Minister of Tourism, Culture and Sport, announced the recipients of the first year of the Ontario Music Fund, as well as the official launch of Ontario’s live music portal, http://ontariolivemusic.ca/.

The first year of the Ontario Music Fund, which is administered by the Ontario Media Development Corporation (OMDC), is providing 108 grants to artists and music organizations that produce, distribute, and promote Canadian music and artists.

“We’re turning up the volume on our diverse and dynamic music industry,” said Minister Coteau. “Through the Ontario Music Fund, we are making important investments to help the industry grow, create jobs and ensure Ontario’s talent thrives here at home.”

Minister Coteau also announced the official launch of Ontario’s live music portal, OntarioLiveMusic.ca, which was developed by Music Canada under contract to the Ontario government. The site is a comprehensive and reliable source for information on live music in Ontario, including concert listings and venue promotions. As part of Ontario’s Live Music Strategy, the portal will promote live music in Ontario to boost concert attendance, visitor spending, and economic impact.

“The Ontario Music Fund has positively changed the landscape for music, and signals that the Government of Ontario agrees that music is a good investment for this province; in fact, that it is one of our competitive advantages,” said Graham Henderson, President of Music Canada. “We commend the Government of Ontario for creating the conditions that encourage the private sector to invest in music in order to create jobs and stimulate growth.”

For more on the Ontario Music Fund, visit http://www.omdc.on.ca/music/the_ontario_music_fund.htm.

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OMDC announces key dates for Ontario Music Fund program Years 2 and 3

The Ontario Media Development Corporation (OMDC) has announced the key dates for years 2 and 3 of the Ontario Music Fund.

As per the release, application launch dates, deadlines, and funding decisions timelines for the four streams of the Ontario Music Fund are as follows:

Music Company Development:
Year 2 (2014 – 15)

  • Application launch: Early April 2014
  • Deadline: May 30, 2014
  • Activity period: July 1, 2014 -July 31, 2015
  • Funding decisions: Early September, 2014

Year 3 (2015-16)

  • Application launch: Mid-March, 2015
  • Deadline: May 15, 2015
  • Activity period: July 1, 2015 –July 31, 2016
  • Funding decisions: Mid-September, 2015

Music Industry Development:
Year 2 (2014-15)

  • Application launch: Early May, 2014
  • Deadline: December 31, 2014
  • Activity period: April 1, 2014–May 31, 2015
  • Funding decisions: ongoing to late January/Early February, 2015

Year 3 (2015 – 16)

  • Application launch: Early March, 2015
  • Deadline: December 31, 2015
  • Activity period: April 1, 2015 – May 31, 2016
  • Funding decisions: ongoing to late January/Early February, 2016

Live Music:
Year 2 (2014 – 15)

  • Application launch: Mid – April 2014
  • Deadline: June 16, 2014
  • Activity period: August 1, 2014 – August 31, 2015
  • Funding decisions: Mid – September, 2014

Year 3 (2015 – 16)

  • Application launch: Early March, 2015
  • Deadline: April 30, 2015
  • Activity period: July 1, 2015 –August 31, 2016
  • Funding decisions: End of July, 2015

Music Futures:
Year 2 (2014 – 15)

  • Application launch: Early May 2014
  • Deadline: June 30, 2014
  • Activity period: May1, 2014 –May 1, 2015
  • Funding decisions: Late September, 2014

Year 3 (2015 – 16)

  • Application launch: Mid – March, 2015
  • Deadline: May 29, 2015
  • Activity period: April 1, 2015 –April 1, 2016
  • Funding decisions: Early September, 2015

For further information on the Ontario Music Fund, visit the OMDC’s website at http://www.omdc.on.ca/music/the_ontario_music_fund.htm.

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The Rambler by Graham Henderson: My testimony before Ontario’s Standing Committee on Finance and Economic Affairs

Graham_headphones3Blog ThumbnailThe Rambler is a column by Graham Henderson, President of Music Canada. Graham writes from time to time about developments in the music industry, new trends or just about music! Let’s face it, Graham has been around for a long time and has a lot to ramble on about.

Last week I had the chance to testify before the Provincial Finance Committee in support of the government’s Ontario Music Fund. It was an excellent opportunity to remind all parties of the importance of the music community – all facets of the music community. I felt it was particularly important given that we face a potential Spring election. It was therefore timely to stand up for the Ontario Music Fund. If there is an election, we want to make sure that whatever government is returned by the people of Ontario, it is a government that support the value of music and will not only stand by the Fund, but move to increase it.

When you appear at the Committee you are offered 15 minutes to use as you see fit. I chose to speak for 10 minutes allowing time for questions. Only one of the parties is entitled to ask questions. In my case it was the turn of the Liberals; this explains why there were no questions from the Conservatives or the NDP. However, simply judging from the body language, I can tell you that music is a topic which seriously interests people in government. It is inspirational, it is exciting. It is a gift that keeps giving. As we have always said, “Whatever your problem or opportunity, music can help.” Governments at all levels are waking up to this.

The days when the sole reason for supporting music was for its intrinsic value to our society and culture are waning. Today music is increasingly seen as a critical even essential component in a thriving economy. It is claimed that Archimedes once said, “”Give me a lever long enough and a fulcrum on which to place it, and I shall move the world.” As I point out in one of my answers – music is a very long lever, and it offers advantages to the economy out of all proportion to its own economic footprint.

I was particularly intrigued by Donna Cansfield’s questions. She picked up on the theme of music education, stressing its importance and allowing me to amplify the need for governments to at the very least demonstrate leadership in this area. But she also asked about music piracy and I thought her concern was moving. It is not particularly fashionable to talk about “piracy” these days. But it continues at an absolutely rampant pace. During the copyright reform debates, opponents of the cultural industries appeared before the various committees minimizing the impact and proposing techno-utopian solutions. The most bizarre of all was the idea that touring and performing would supplant the income lost because people, FANS, refuse to pay bands for their music. That canard has died a particularly swift death and its advocates simply proved the poverty of their vision and common sense in ever having proposed it was a workable solution in the 21st Century.

The other reeking skeleton in the closet is how little intermediaries like Google are doing to make it easy for consumers to find legitimate sources. I have written about this here. I would also refer you to David Newhoff’s excellent blog on the subject of Google, as well as IFPI’s sad tale about the infestation of Google by illegal search results – about which they are doing essentially nothing. Our friends at David Lowery’s excellent blog The Trichordist have also touched on the question of exactly how little intermediaries pay creators for the privilege of leveraging their art into untold billions of viewers and by extension fabulous wealth; wealth that is concentrated in increasingly fewer hands by the moment and on a scale which would make the Borgias cringe and blush. Here is an excerpt from this blog:

One of the most accessible points of piracy starts at Google search and they can absolutely do more to assist legal and licensed businesses that pay artists. Digital Music News recently reported that “ Google Receives Its 100 Millionth Piracy Notice. Nothing Changes… ” As we’ve seen with Google’s swift retribution to Rap Genius , search can very effective to discourage or remove bad actors from the legitimate marketplace (When it is in Google’s business interest to do so!). Google is also tracking over 200,000 known domains engaged in active piracy . This seems like an easy problem to solve.

Not only did a series of research studies by the USC Annenberg Innovation Lab identify Google as one of the primary companies feeding advertising to pirate sites, but there is actually a longer darker history of Google assisting illegally operating business online .

Artists don’t get paid anything from pirate sites profiting from advertising revenue. This is the big one, those who pay nothing at all but distribute the most music at the highest volumes.

Ms. Cansfield said, “I think there are things that we can also do, working with the Federal Government, and I was surprised you didn’t mention more of that, because that pirating of music is a significant drain on the economy.” I agree with her, and we would more than welcome any assistance the Provincial Government would care to offer! Together we are stronger.

 

Here is the transcript of my presentation, courtesy of The Legislative Assembly of Ontario.

The Chair (Mr. Kevin Daniel Flynn): Our next delegation this morning is from Music Canada: Graham Henderson and Amy Terrill—or Graham by himself.

Mr. Graham Henderson: By myself.

The Chair (Mr. Kevin Daniel Flynn): It’s the same as everybody else, Graham: 15 minutes. Use that any way you see fit. If there’s any time left over at the end, questions will come from the government this time. With that, the floor is yours.

Mr. Graham Henderson: Okay, thank you very much. Good morning, members of the committee, and thanks for the opportunity to speak today.

I would like to focus my remarks on something that was in last year’s budget, in order to ensure that you’re well aware of the positive nature of the policy and its impact on our sector. I’m talking about the Ontario Music Fund, which is a $45-million grant program spaced over three years.

As many of you know, Music Canada has actually been at the forefront of advocating for not only this initiative but also the Ontario music community in general. I’m confident in saying that the fund was designed to respond to market challenges that we brought forward to the government, and also the opportunities for growth and investment.

Allow me to explain. Music is now widely considered to be a key competitive advantage for Ontario. In a groundbreaking study that we commissioned a couple of years ago, PricewaterhouseCoopers determined that the major and independent recording companies alone generate about $400 million in spending and contribute $240 million to the national GDP. Over 80% of that activity takes place in Ontario.

Our sector employs thousands of young people in a cutting-edge digital environment, and then there is the live sector. The live sector in Ontario accounts for over half of the activity in Canada. Toronto is a “must” stop on every global tour and a home to thousands of homegrown artists. It is a key economic sector. It’s one of the top three markets for live music in North America.

The cities of Toronto, Hamilton, Kitchener, London, Guelph, Peterborough, Windsor, Kingston and Ottawa have all identified the potential of music in their communities. Each of these communities sees it as an important part of the community and a catalyst for benefits ranging from music tourism to investment and talent attraction and to community building. These same benefits were highlighted in a recent white paper released by the provincial Conservative Party. I commend them for having drawn some attention to this.

Similarly, the Ontario Chamber of Commerce has ranked music along with traditional powerhouses like mining and manufacturing as three of Ontario’s key economic sectors.

So why, might you ask, was there a need for government intervention in the form of the fund? The answer to that is germane to the issues that you deal with on a regular basis: financial liability, market imperative, investment climate, retention and attraction of jobs.

Perhaps no sector has experienced the consequences of the digital revolution more directly than the music community. Our entire ecosystem has been disrupted. Our community has embraced this challenge, and adaptation was necessary, but it certainly wasn’t easy. The process of transformation is far from over. A $38-billion business worldwide has become a $16-billion business. Revenues in Canada in the recorded music sector are less than half what they were in 1999.

While digital sales have grown significantly, they are not enough to make up for lost physical sales. Revenues from the digital market are on a completely different scale from those derived from CDs. We do not sell albums; we sell singles. Streaming music, which is becoming increasingly popular, generates a fraction of a penny per stream.

While there are more and more digital services, they are not all created equal. The landscape is littered with illegal services that do not pay artists or copyright owners. Many of them appear to be legitimate to the consumer, and they’re aided by Google. Google search results obscure the simple existence of legal sources of music.

Robert Levine, who is the former editor of Billboard and author of a book called Free Ride, wrote, “It has never been easier to distribute a creative work. At the same time, it’s never been harder to get paid for it.”

The Canadian Independent Music Association released a report recently, Sound Analysis, that concluded that 60% of the independent music companies in Canada—and these are basically small businesses—generate less than $50,000, and only the top 10% earn more than $500,000 a year. Artists, whom you should all consider entrepreneurs, earn an average of about $10,000 per year from music-related activities, and they spend about 29 hours a week pursuing music, because they must generate income elsewhere to put food on the table. This is radically different from just 10 or 15 years ago. Music is becoming a hobby, not a career.

People are also discovering music in different ways. Discovery is moving online—has moved online—yet for decades we have relied on a strategy to expose Canadians to new music using radio.

Almost all of our digital retailers are foreign-owned, posing the question, how do we guarantee shelf space?

All of this is unprecedented. Yet despite the gloom, we have learned from our research that there are unparalleled opportunities to leverage music in order to generate jobs and investment.

Austin, Texas—and we’ve spent a lot of time there—provides an example of a community that has figured out how to harness the power of music to create one of the most resilient economies in the United States while also supporting the small businesses and artist entrepreneurs who make up the sector. As the 11th-largest city in the United States, they were the last into the recession and the first out, and they credit their music community for that benefit. It’s on the top-10 list of every measurement: attracting young people, population growth, rate of venture capital investment, number of start-ups, number of jobs created. In Austin, music generates $1.6 billion.

By comparison, Toronto, which is three times as large, generates only one third of that activity. In Ontario, and we know this from the Ontario Arts Council, arts and culture tourists stay longer and spend more, and almost half of them list music as the key motivator for their trip.

In Austin, music is part of every pitch that the chamber of commerce or its mayor makes when they act as the business investment arm for the city. The government credits music for getting them the Formula 1, something that they were very, very anxious to get.

Music and tech are inextricably linked. We have seen this in Austin, but it has also been backed up by a study released by the Information and Communications Technology Council which points to a strong correlation between vibrant music scenes and technology clusters.

So it is in this challenging market environment where opportunity lies that the Ontario Music Fund appeared, to build on the competitive advantage that the music community has organically created and to turn the province into a live music and recording capital of the world. For the first time—the first time—Ontario is directly leveraging its live music prowess to generate increased tourism activity, which is a great source of jobs, if not the number one source of jobs, for young people. For the first time, Ontario is using the successful film and television model and applying it to music in order to attract and repatriate recording projects to our world-class music studios which, until now, have been suffering.

You might ask, “Why not just lower corporate taxes for companies and the artist-entrepreneurs?” Well, we believe that the stark numbers that I shared with you earlier demonstrate that the majority of our community needs access to capital and not lower taxes.

At Music Canada, we’ve identified seven key areas of growth for the music community in Canada at large and Ontario as well. They are: music education, digital innovation, music tourism, export development, tax credits or grant programs, music celebrations and community building.

With a bit of help from the government, the private sector is ready to create new wealth and jobs in this province. I’m confident that you’ll see that the Ontario Music Fund is money well spent.

Thank you.

The Chair (Mr. Kevin Daniel Flynn): Very good. Thank you, Graham. You’ve left about five minutes.

Who would like to go first? Steven?

Mr. Steven Del Duca: I’ll go first. Thanks very much, Mr. Chair.

It’s great to see you, Graham. Thank you for being here and for delivering those remarks that I think underscore the importance of the decision that our government made last year with budget 2013, around the music fund itself.

The question I have is that in terms of going forward, you talked a great deal about how important it was for us to come to the table with that $45 million, I believe, over three years. I’m wondering, as we go forward, what other steps the government can take to support the industry—perhaps not by way of more funding, because $45 million over three years is considerable, but other measures the government can consider taking to support such an important economic driver, that sometimes is counterintuitive. People might not think it provides the economic activity that it actually does.

Mr. Graham Henderson: It’s correct. It’s a fulcrum that you can use to achieve immense leverage that is totally disproportionate to the size of our own economic footprint. Music tourism is a perfect example of that.

Minister Chan has announced the Live Music Strategy. The objective is to create in Ontario a global destination. We’ve never drawn attention to the fact that we have one of the most vibrant music scenes in the world. We’ve never spent any money on it. The government could simply support Minister Chan, as could the other parties, as he focuses and concentrates resources, that exist today in the ministry, on music. That would be one key area.

Once you build a music scene, you can also use it to leverage the attraction of businesses, the retention of businesses, young people and even immigrants. So as the province of Ontario looks at how it is going to attract the right immigrants to the marketplace, simply think about the advantage that our existing scene can offer you. It’s a big advantage.

Finally, I would suggest that music education is something that has been allowed to languish across the country. Just as you’ve announced an initiative to support mathematical education, you should be thinking about what you can do for music, because it is dying in our schools.

Mr. Steven Del Duca: Interesting. Thank you.

Mrs. Donna H. Cansfield: Thank you very much and thank you for your presentation. I so wholeheartedly concur with you. Anyone who doesn’t have a teenager or who wasn’t a teenager doesn’t understand the value of music. We still have our Beatles albums. It’s just part of who you are and your heritage.

I want to ask two questions. First of all, about the education—and I concur wholeheartedly—interestingly enough, one of the countries in the world with one of the most vibrant music programs is Finland. That’s because in Finland every child takes music and every child gets an instrument.

Mr. Graham Henderson: Yes.

Mrs. Donna H. Cansfield: They have one of the best music programs in the world because they have nurtured that. I think that’s something we could work on.

The other part of it is the illegal market. I think there are things that we can also do, working with the federal government, and I was surprised you didn’t mention more of that, because that pirating of music is a significant drain on the economy.

Mr. Graham Henderson: You can help us simply by vocally demonstrating leadership, by speaking out on issues like music education. We do not have Premiers or Prime Ministers like Bill Clinton and others, who vocally stood up for the importance of music education. If you can start to do that, it helps us.

We have an initiative that raises money called MusiCounts to put instruments into the hands of young musicians. Similarly, the federal government has done a lot to help us in our battle against illegal sources, but they could certainly do more. One of the biggest problems we have is that consumers cannot find legal services on Google. Type in: “Carly Rae Jepsen”; pick your song; press “search.” You would have to look to page 7 of the results to find iTunes. Before you get there, you have six and a half pages littered with illegal sites which are constantly being taken down and constantly being put back. With government support, maybe we can urge intermediaries to actually do something to help consumers find legitimate sources, because I think they’d like to.

Mrs. Donna H. Cansfield: I concur with you, and I think it’s an education. I’m going to suggest that most young people who download music don’t realize how illegal it is. So there’s a whole education component—

Mr. Graham Henderson: Right—or the harm.

Mrs. Donna H. Cansfield: —or the harm that it’s doing to the economy.

Mr. Graham Henderson: The difference between an artist’s career today and 15 years ago is stark.

Mrs. Donna H. Cansfield: You’re right. Thank you very much for your presentation.

The Chair (Mr. Kevin Daniel Flynn): Thank you for coming.

Graham Henderson is the President of Music Canada. He also writes on an eclectic range of topics on his personal blog at www.grahamhenderson.ca.

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2013 a banner year for Music Canada’s advocacy efforts

2013 was a banner year for Music Canada’s advocacy efforts, with Toronto City Council, the Government of Ontario, and the Government of Canada all showing they recognize the value of the Canadian music sector, with all levels taking several concrete steps to grow the industry.

Toronto:

In Toronto, 2013 began with a landmark commitment to arts funding, as the 2013 Capital and Operating Budgets include a boost in arts funding derived from the billboard tax. Toronto artists celebrated as the Executive Committee endorsed a plan to increase funding to $25 per capita on arts programs and grants by 2016. Among the priorities listed in the motion put forward to the Executive Committee by Councillor Gary Crawford was “support for Toronto’s music cluster.” Unfortunately, in November, a City staff report recommended pushing back the target to 2018, although Councillor Crawford said he believes the 2016 target is still attainable, and plans to put forward a motion before the 2014 budget is finalized to phase in the funding by 2016.

In June, artists and musicians joined leaders from music, tourism and City Hall to launch 4479 – a campaign to position Toronto as one of the greatest music cities in the world. 4479 is designed to promote Toronto as a world leader in live and recorded music and also to build a community that engages artists, industry supporters and fans who share the vision of Toronto as a vibrant and diverse music city.

Later in June, Austin City Council voted in favour of a music city alliance with Toronto, creating the catalyst for the partnership between the two cities.

In July, Toronto City Council responded in kind, unanimously supporting a motion to establish a Music City Alliance with Austin. Members of Toronto’s music community expressed strong support for the alliance in a release issued by the 4479 campaign.

The 4479 website officially launched in September, with a video showcasing Toronto’s world class music scene, and advocacy tools and campaigns to encourage Toronto city councillors to “say yes to music” at upcoming votes at City Council.

The Alliance was made official in October , during a music and cultural business mission led by Toronto Mayor Rob Ford, Councillors Gary Crawford, Josh Colle, Doug Ford, and Michael Thompson, as well as representatives from the music sector, travelled to Austin, Texas.

The Alliance agreement states that the two cities will “work collaboratively to develop and expand all elements of the music industry, including but not limited to artists, venues, festivals, studios, management and promotion.”

The groundwork for a Music Office at City Hall was laid in October, when the City of Toronto issued a job posting for a Sector Development Officer (Music) , working in the Economic Development & Culture division. The creation of this position is an important milestone as it sends a clear signal that the city now regards music as an important economic sector. The creation of a Music Office at City Hall was one of the recommendations outlined in the Accelerating Toronto’s Music Industry Growth – Leveraging Best Practices from Austin, Texas report, commissioned by Music Canada.

Also in October, Toronto City Council voted unanimously to request the Federal Government extend the Temporary Worker Fee exemptions for musicians to all venues, including bars, restaurants and coffee shops, adding weight to the concerns raised throughout the music community.

In November, Toronto’s Economic Development Committee voted unanimously to adopt the Terms of Reference for a Toronto Music Industry Advisory Council. The City of Toronto then solicited applications for membership on the Council, with an invitation to apply, membership application, and background materials posted on the City of Toronto’s website .

This week, Toronto City Council has approved the establishment of the new Toronto Music Industry Advisory Council , marking a significant success for the music community.

According to the staff report, the “Toronto Music Industry Advisory Council will provide a forum for the discussion of opportunities and challenges, exchange of ideas, input and advice, and collaborative development of recommendations and a unifying voice to advance the music sector in Toronto.”

Ontario:

Ontario made it clear in 2013 that the province recognizes music is an integral part of Ontario’s cultural landscape and an innovative economic driver:

In January, the Hon. Michael Chan, Minister of Tourism, Culture, and Sport, announced that the government of Ontario would be developing a live music strategy that will strengthen the province’s position as a global leader for live music.

Minister Chan made the announcement at an event at Toronto’s legendary Horseshoe Tavern, which featured performances by DJ Clymaxxx, The Good Lovelies, and the Skydiggers. The room was packed with leaders from the live and recorded music sectors as well as artists and musicians. Minister Chan also announced an Industry Working Group to develop the strategy and strengthen Ontario’s position as a global capital for live music.

Minister Chan’s announcement was buoyed by a report from the Ontario Arts Council, who released the Ontario Arts and Culture Tourism Profile in January. The report provides a comprehensive profile of Ontario’s arts and culture tourists and their economic impact. The report shows that arts and culture tourism has a significant economic impact in Ontario, with arts/culture tourist spending generating $3.7 billion in GDP in Ontario in 2010, supporting 67,000 jobs and $2.4 billion in wages and generating $1.7 billion in taxes for all levels of government.

The music industry was recognized as a key economic driver during the Ontario Liberal leadership debate in January, as Kathleen Wynne noted that the music industry is “absolutely an important economic driver for the GTA, for the City of Toronto.”

In February, Premier Wynne highlighted the music sector in a key economic section of the Speech from the Throne, among traditional Ontario powerhouse industries like agriculture and the automotive sector.

In May, the Ontario government announced plans to create the Ontario Music Fund that would help support and create jobs and position the province as a leading place to record and perform music. Speaking at Lee’s Palace, Finance Minister Charles Sousa revealed that the new Ontario Music Fund is a proposed $45 million grant program over three years, starting in 2013-14.

Premier Kathleen Wynne spoke at Music Canada’s Annual General Meeting in July, where she expressed her desire to make Ontario a place where artists and musicians can succeed. She reaffirmed her government’s commitment to the Ontario Music Fund and the Live Music Strategy, emphasizing the importance of music to our economy and our culture.

In August, the Ontario government launched its Pan Am and Parapan Am Games Promotion, Celebration and Legacy Strategy, which aims to increase the economic benefits of the 2015 Games and support them in becoming the People’s Games. A key part of the strategy is a plan to celebrate and showcase Ontario talent from “the stage to the stadium” in local communities. This includes enhancing support for live music, celebrations and festivals, adding to Ontario’s reputation as a live music destination.

The Ontario Music Fund was officially launched in October, with the Honourable Michael Chan, Minister of Tourism, Culture, and Sport making the announcement at Revolution Recording studio in Toronto. As per the release, the new fund will support Ontario-based music companies and music production and distribution through four streams:

The Ontario Music Fund is administrated by the Ontario Music Office, with more information available on their website.

Canada:

In July, Prime Minister Stephen Harper named The Honourable Shelley Glover as Minister of Canadian Heritage, with the Honourable James Moore moving to a new role as Minister of Industry Canada.

Both Minister Glover and Minister Moore underscored music’s importance to Canadian culture and Canada’s economy at two Minister’s Music Nights in 2013, which were produced by Music Canada and Quebecor.

The most recent event was hosted by the Honourable Shelly Glover, and featured terrific performances by Kaïn & Brett Kissel at the Museum of Civilization (History). The event also featured music from students of Hillcrest High School, an Ottawa, ON, school that features music education as a key part of their community and curriculum.
At the event, Minister Glover spoke passionately about the talent and diversity of Canada’s music scene, as well as the economic and cultural benefits of our music sector.
“I have always been very impressed by the talent and diversity of the artists who shape the music scene in Canada. I am particularly inspired by the number of talented young artists who keep music new and exciting,” said Minister Glover. “Canada’s recording industry is the seventh-largest in the world, generating almost $3 billion in economic activity every year. Thanks to the talent and creativity of our artists, Canada is the third-largest exporter of musical talent in the world.”

Back in February, then-Heritage Minister James Moore hosted invited guests at the National Arts Centre as Johnny Reid and Étienne Drapeau performed. Prior to the concert, both artists toured Parliament Hill with Minister Moore, and met with several MPs and Senators in a reception hosted by The Honourable Andrew Scheer, Speaker of the House of Commons.

In August, Music Canada expressed concern about changes to the Temporary Foreign Workers program that affect some Canadian music venues featuring international performers. It is our belief that these impacts are unintended consequences of regulations designed to protect jobs for Canadians. While this policy is borne out of a valid concern for Canadian employment, it will reduce the ability of bars and restaurants that host live music to hire international performers. Music Canada is optimistic that insightful exceptions can be extended to musicians performing in all venues, and look forward to the resolution of this issue.

Looking back, 2013 was a banner year for Music Canada’s advocacy efforts in Toronto, Ontario, and Canada, which we hope will lead to greater opportunities for Canadian artists and musicians and the teams that work with them. With all levels of government taking several concrete steps towards growing our music sector this year, the stage is set for a terrific 2014.

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Ontario Music Fund launched to help support and create jobs, and position the province as a leading destination to record and perform

The Ontario Music Fund was officially launched today, which will help support create jobs in Ontario’s music industry, and position the province as a leading destination to record and perform. The announcement was made by the Hon. Michael Chan, Minister of Tourism, Culture, and Sport, at Revolution Recordings studio in Toronto. 

As per the release, the new fund will support Ontario-based music companies and music production and distribution through four streams: 

  • Music Company Development – Helps Ontario-based music companies increase recording, production and marketing, which boosts sales of music and supports job creation.
  • Music Industry Development – Provides support for initiatives such as digital innovation, music training and new approaches to increase home-grown music exports.
  • Music Futures– Helps leverage Ontario’s diverse and emerging music industry by supporting small music companies and artist entrepreneurs, for example those who create music and also handle the business and promotion of their music.
  • Live Music– Helps increase the number of live music events in the province and generates more opportunities for new and emerging local artists — boosting tourism and growing local economies.

“Our government is proud to partner with our music industry through the new Ontario Music Fund that will capitalize on our infrastructure, critical mass and competitive edge to drive economic growth and jobs,” said Minister Chan. “Home to the largest and most diverse music industry in the nation, we are committed to amplifying our success on the world stage and place Ontario on the map as a cultural and creative capital.”

“Music is a superpower that’s primed and ready to perform for Ontario. It’s a smart investment given the globally competitive advantage we have in the recorded and live music sectors,” says Graham Henderson, President of Music Canada. “Research has shown that targeted support for music will pay off with enormous dividends including job growth, increased investment, tourism and the transformation of Ontario into one of the recording capitals of the world. As we in the music community like to say, music can help.”

Applications for the Ontario Music Fund are open now, and can be made through the OMDC Online Application Portal at https://apply.omdc.on.ca/. Applications may be submitted on an ongoing basis until January 31, 2014.

At today’s event, Kim Cooke, owner of Revolution Recordings, introduced Minister Chan, saying it’s “important to acknowledge Minister Chan and his staff. In tough times, with a major workload and competing demands, he has fought hard for the cultural sector and embraced the Ontario Music Fund file with vigour.” OMFCooke

“Ontario has proven itself as a powerhouse competitor with other jurisdictions across a wide range of creative industries. The Ontario Music Fund will help us to build an even stronger music industry in the province and to ensure that our music continues to reach global audiences,” said Kevin Shea, Chair, Ontario Media Development Corporation (OMDC).

OMFShea
Artists Kardinal Offishall and Ladies of the Canyon were on hand for today’s announcement, as well as a wide range of industry stakeholders, including representatives from Music Canada, the Canadian Independent Music Association, The JUNO Awards, Polaris Music Prize, Music Managers Forum, and all of Canada’s major record labels. OMFChanKardinall

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Ontario Music Fund an important investment in job creation in Ontario’s music industry

FOR IMMEDIATE RELEASE: Ontario Music Fund an important investment in job creation in Ontario’s music industry

Toronto, May 1, 2013: On behalf of our members and partners, Music Canada commends the Government of Ontario for its commitment to accelerate the growth of the music industry in the province with the creation of the Ontario Music Fund announced today.

“Music is a superpower that’s primed and ready to perform for Ontario. It’s a smart investment given the globally competitive advantage we have in the recorded and live music sectors,” says Graham Henderson, President of Music Canada. “Research has shown that targeted support for music will pay off with enormous dividends including job growth, increased investment, tourism and the transformation of Ontario into one of the recording capitals of the world. As we in the music community like to say, music can help.”

The Ontario Music Fund is a $45 million dollar grant program to be distributed over three years beginning in 2013-14. According to a release by the Ministry of Finance, the fund is designed to support new digital and record production and distribution of Canadian music, to increase partnership opportunities and to promote Ontario’s music industry in Canada and around the world.

Ontario’s music industry is one of the most robust and diversified in North America. The recording sector alone generates more than $300 million in economic impact in Ontario which accounts for 81% of the total activity across Canada. It’s a cutting edge digital sector that predominantly attracts young workers. Live music is also of critical importance, both as a key aspect of Ontario’s competitive advantage, and as a source of income for artists and musicians.

The announcement was made today to a capacity crowd at Lee’s Palace in Toronto and with performances by Courage My Love from Kitchener and Royal Wood from Toronto.

QUOTES:

“On behalf of our 85 employees at Metalworks, I wish to congratulate the Government of Ontario for its commitment to maintaining a vibrant music industry. As a result of today’s announcement, the industry will get a much needed boost in the arm and the 220 students currently enrolled at Metalworks Institute of Sound and Music Production will be more likely to enjoy successful careers in an industry that I have been fortunate to call my own from the time I was a teenager. Today is a great day for music in Ontario.” Gil Moore, CEO, Metalworks Group

“The new Ontario Music Fund is a welcome investment in Ontario’s music industry and in our world class cast of talented artists and musicians. We look forward to learning more about the program and how we can work with the government to build on the entrepreneurial spirit in the music community.” Steve Jordan, founder and Executive Director, Polaris Music Prize

“Broader support for music production in Ontario will provide a strong incentive for Canadian artists to record in Ontario, while also helping us lure major American and international acts to record here. We congratulate the government for making a commitment towards the music industry in this province which is, by any measure, one of Ontario’s great assets.” Kim Cooke, Co-owner, Revolution Recording

“Returning to Toronto as NXNE’s new festival director, I’m inspired to see first-hand the extent of the Government of Ontario’s commitment to supporting the music industry in this province. I believe that we have the most passionate fans, the most visionary and experienced industry, and the most talented artists anywhere. This tremendous and timely support from our provincial government will be vital in helping our music sector rock the world. I couldn’t agree more – music creates jobs.” Christopher Roberts, NXNE Festival Director

“The Ontario Music Fund announced today creates a strong incentive for artists and their teams to produce more recordings in Ontario. In a competitive global environment, every edge makes a difference. Congratulations to the government for seeing the importance of the music industry.” Donny DaSilva, Manager, Noble Street Studios

“We applaud the Ontario government’s creation of the Ontario Music Fund, and their recognition that music not only plays a profound role in the cultural lives of Ontarians, but is also an important driver of the economy and a source of valued jobs. We hope this announcement will allow the already vibrant live music sector to amplify our successes through support for infrastructure, programming, and artist & audience development initiatives. We are part of one of the largest and most dynamic music communities in the world and this investment will help maximize its potential, paying dividends for the people of Ontario.” Jesse Kumagai, Director of Programming, The Corporation of Massey Hall and Roy Thomson Hall

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For more information:

Amy Terrill – Vice President Public Affairs, Music Canada
aterrill@musiccanada.com 647-963-6044

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

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