Tag Archives: Canadian Music

What is private copying?

Published 12/9/2020

By Lisa Freeman

A “private copy” is a copy you make of your music collection for your own personal use, anywhere, anytime. Private copying presents a unique challenge: technology keeps making it easier for consumers to copy music, but it is not always possible for music rights-holders to authorize, prohibit or monetize those copies.

In recognition of this challenge, Canada’s Copyright Act was changed in 1997 to allow Canadians to copy music onto audio recording media for their private use. In return, the private copying levy was created to remunerate recording artists, songwriters, composers, music publishers and labels for that use of their work.

How it works: rights-holders are paid a small royalty (a ‘levy’) whenever a business sells a product that can store copies of music. Consumers get their music anywhere, anytime; music drives up the value and sales of tech companies’ products; and music creators get paid for unlicensed private copies. Everybody wins!

For many years since its creation, the private copying regime was an important source of royalties, generating a total of over $300 million for over 100,000 music rights-holders. Unfortunately, the regime has been limited since 2008 to a single medium, now virtually obsolete: recordable CDs. That means royalties have plummeted from $38 million in 2004 to $1.1 million in 2019 – even as annual copying activity more than doubled.

You may think that nobody makes copies of their music collections for private use anymore, because we’re all just streaming now. This couldn’t be further from the truth. The reality is that Canadians still make billions of copies of their existing music collections, for listening offline. What has changed is simply that those copies aren’t on cassette tapes, they’re on phones and tablets. And guess what? Only half of those copies are paid for through licensed music services.

Our most recent research shows that there are 5.95 billion tracks of music currently stored on

Canadians’ phones and tablets, and that half of those copies are unlicensed. Unlicensed, and no levy – that is a lot of revenue out of the pockets of creators and their music company partners. The Copyright Act has not kept pace with technology, leaving rights-holders unpaid. Shouldn’t every copy count?

With minimal revisions to the Copyright Act, the private copying regime would be restored to what it was originally intended to be – a flexible, technologically-neutral system that monetizes private copying that cannot be controlled by rights-holders.

Specifically, our proposed amendments to the Copyright Act would allow the regime

to apply to both audio recording media and devices. CPCC also proposes minor revisions to the Act to clarify that this exception to copyright infringement does not extend to offering or obtaining music illegally, whether through an unlicensed online service, stream-ripping, or by stealing an album from a store – such activity remains illegal. The private copying regime is for copying that cannot be controlled.

Passage of these amendments would make it possible for the CPCC to ask the Copyright Board of Canada to approve a levy on the smartphones and tablets where Canadians now make their private copies. The Copyright Board would ultimately determine the value of any approved levy on devices, but CPCC’s proposal is a levy that is a small fraction of the cost of a device, comparable to the average levy payable on a smartphone in Europe: around CDN$3, or the price of a cup of coffee. That would generate about $40 million in royalties per year.

With help from supporters, we have been asking the Government to amend the Copyright Act to ensure that the private copying regime is made technologically neutral. Moving forward with this legislative change will create a true marketplace solution for the music industry, which will help to restart the Canadian music economy as it recovers from the COVID-19 pandemic.

Right now, the Government is reviewing copyright reform legislation to be tabled imminently, acting on what they heard in the recent Parliamentary Review of Copyright. We need your help to ensure that private copying reform is high on their agenda.

How can you help?

There are a number of ways you can help:

Lisa Freeman is the Executive Director of the CPCC.

About Lisa Freeman

PR During Protests

Published 10/1/2020

By Dalton Higgins

During these last number of months, it has not been just another day at the office for me. As an African-Canadian owner of one of Canada’s leading boutique PR companies, that just happens to specialize in Black music (i.e., rap, R&B, electronic), long before the social protests, posting of Black squares, and sharing of hashtags, I have pretty much seen, heard, and witnessed all kinds of repulsive anti-Black racist acts that would make your head spin like a helicopter. Right here. In Canada. While being based in “multicultural” Toronto.

When we talk about structural and systemic racism in Canada, it means looking at what’s around you, looking at facts (and not feelings), and looking at real measures of equality, like representation. There’s no hard data that’s been collected or compiled in Canada (yet) to spell out how companies are faring as far as hiring and retaining Black staffers in the music and entertainment PR field. (The U.S. has always been 20 steps ahead of us when it comes to compiling race-based data.) According to Data USA, only 7.15 percent of publicists are Black  (non-Hispanic).

But you don’t need to rely on statistics at this juncture. Our industry is small. Just go to all of the major awards shows, industry confabs, music festivals, and conferences, like I do, and you’ll see that our presence is scant to non-existent. JUNO Award winner Jessie Reyez, who isn’t Black, was so offended by the lack of Black representation at Canada’s major labels, that she listed out all of the woefully low percentages of Black staffers who were gainfully employed, on a recent CTV special, Change and Action: Racism in Canada, and said, “That’s not acceptable.”

Given that the numbers of Black management companies, booking agents, entertainment lawyers, commercial radio Program Directors and Music Directors, music presenters, venue owners, etc., in the entertainment industry in Canada are minuscule, and because all of these jobs have a naturally symbiotic relationship (i.e., “65 percent of my clientele comes from referrals”), you can see that the playing field could never be even here.

I’ve also always been a strong proponent of the idea of “building your own table,” and business ownership – serial entrepreneurs move a certain way – but that has more to do with the fact that I grew up reading about the exploits of the late Afrocentric business titan Marcus Garvey, who insisted that Black people need to own businesses, properties, the means of production and distribution, to have a more self-fulfilling existence.

Also, the facts are that if I hadn’t been a long-time media practitioner in both Canada and the U.S., my company would be dead in the water. I won’t lie. We’ve been in demand, and busier than ever over the last five years, but that might be more because we deliver results, and oftentimes have to work five times as hard as the perceived competition. (Many Black kids are told by their parents that due to anti-Black racism they have to be 10 times better than whites, and may still only get one-half the results.) And I ain’t talking about competing PR companies either.

The journey of the Black publicist in Canada means sitting idly by, as all kinds of mediocre rock, indie rock, country, and folk acts generate more local media attention at home than some of our world-class rap, R&B, and electronic music clients. Ironically, they’re able to generate significant media attention in far larger media outlets in the U.S., including Billboard, SPIN, or Hypebeast, and who are streaming more, have larger socials, and who have a lot cooler cachet.

The sheer dominance of contemporary Black music (e.g., rap, R&B), from a streaming and sales standpoint, stands in stark opposition to what gets covered in Canadian media. It’s the pink elephant in the room. If we were to treat the music media world like a genuine meritocracy, and base it on sales, youth culture, market penetration, growth potential, the cool factor, and whatever other metrics you want to use for what’s relevant in music or the zeitgeist, you would be seeing and hearing a lot more Black music on TV, radio, in newspapers, magazines, and blogs. But the facts are, you just aren’t in Canada.

I don’t even want to get into the normalized micro-aggressions I have to endure while running my company and doing my job. Is there a reason administrative staff (or security guards) in mainstream media houses and corporations who hire us always ask me in this distrusting way, “Can I help you with something?” when I land in their lobbies, intimating I don’t belong there, when it’s clear I’m there for a meeting, or to assist my client? If I were a white guy, there’s no way they would be walking over to me, and asking me these asinine questions. Maybe the next time I get that “Can I help you?” routine, and I will respond “Uhhh, yes you can help me, by moving out of my damn way, as I’m here to tend to the needs of my Grammy-nominated/JUNO-winning/best selling client, please and thank you.”

As a Black publicist, I also sadly have to spend an inordinate amount of time educating people in general about race, ethnicity, and music history. Because I’m Black, it doesn’t mean that I only represent Black artists. I represent the interests of all kinds of white, Asian, Indigenous, South Asian, and  Latin American artists, largely because there’s a genre hybridity that has been happening over the last 20 years. Many good contemporary musicians, across cultures and racial designations, don’t really believe in being stuck in genre silos.

Also, Black music and culture influences the music creations of everybody. Always has. Where do you think the “King of Rock ‘n’ Roll” got his direct musical inspiration, guitar-playing style, and dance moves from? C’mon now, are you telling me that you don’t know (Bo) Diddley? Don’t ever judge a book by its cover, as I quickly learned while working for a few years with the so-called “world” music scene in Canada. It’s a scene that might arguably be the most problematic, when it comes to dealing with issues around race, representation, colonization, and other questionable employment practices, but I’ll save that for another column.

What does the future hold for PR professionals of my ilk? We essentially want nothing to do with the old boys’ network. Why? Because homogeneity bores us. And my time is, quite frankly, better spent building a New Boys (& Girls!) network that’s a lot more interesting, and that will represent contemporary demographic and music realities. Despite what some of the few remaining gatekeepers are doing (we see you), the music forms you’re supporting are dying a slow death. Not because of anything I’m writing here. It’s because of the people. Music consumers. They want more hip-hop, R&B, Afro beats, electronic music. Or maybe it’s a hip-hop world, and you’re just living in it?

Despite all of these daily anti-Black industry annoyances, I’ll always be working with my talented clients to get their stories out. I still get a great high landing a major media hit for my clients, both big and small. And it’s true that you’ll likely always catch me hanging out and partying with both my emerging and celebrity clients. Even while Paris is burning.

About Dalton Higgins

Canadian ingenuity conquers self-isolation with adaptation

Published 06/24/2020

By Howard Druckman

More than three months have passed since self-isolation was imposed by public health regulations in necessary response to the spread of the COVID-19 virus. It’s been a hard 100 days for music-makers.

In an era where digital streaming is already the predominant form of listening to music, with meagre royalty rates, live performance was one of the most reliable ways for those who make music to make a living. With live concerts shut down, music creators have turned in full force to live-stream online concerts to survive – whether through digital “tip-jar” contributions, tickets for the performances, or royalties from the SOCAN Encore program.

Even as restrictions begin to ease in some regions of the country, the first wave isn’t over yet, and the possibility of a second wave still looms. So the scarcity of live performances may last longer than initially expected.

The good news is, Canadian ingenuity is conquering isolation with adaptation. A handful of musicians have applied their creativity to the challenge of presenting actual safe, in-person shows during the pandemic. Necessity is the mother of invention, and some of the solutions they’ve come up with are pretty elegant.

Drive-In Concerts. The first planned drive-in concert (a live performance at a drive-in theatre ) in Canada that I heard about was by Québecois duo 2Frères. Then July Talk and Brett Kissel announced theirs, and more have followed, including Ottawa’s RBC Bluesfest with the NAC. It sounds like a  good compromise to experience music live in-person, from the safety of your car. I love that it’s rejuvenating drive-ins, which had been languishing in quaint, nostalgic memory. A similar rooftop “drive-in” rock concert was planned for Prince George, British Columbia. Also in a similar vein, new organization Hotels Live is launching the first-ever hotel balcony concert series in Canada, not unlike  Martha Wainwright’s balcony singalong in Montréal.

Micro-Concerts. Musicians can safely play to one person, or household clusters of two or four people, at a time. The Festif! Festival in Charlevoix, Québec, undertook a “doorway tour” series where musicians play one song in front of someone’s home, then move on to the next house. Calgary’s Matt Masters is booking curbside concerts for fans from the top of his mini-van to people in front of their homes. His fellow Calgarian Michael Bernard Fitzgerald is opening up his backyard for four-people-at-a-time micro-concerts.  In Esquimalt, British Columbia, Jeff Stevenson stands on the bank of the Gorge Waterway, and serenades groups of boaters. Stéphanie Bédard, in Québec, is doing something similar with her “Lake Tour.” Montréal’s Dear Criminals played 72 one-song live shows in three days, at the Lion d’Or club, to two people at a time.

Mobile Stages. Musicians can actually tour, using portable venues that will maintain physical distance. This Fall, Michael Bernard Fitzgerald also plans to play farms across Canada, to 10 people a night, in a travelling open-air venue he built, “The Greenbriar.” Similarly, The Io Project is a new “anti-COVID” mobile stage that can safely allow live shows for up to 250 people, watching in household clusters of two or four people, isolated by plexiglass.

Some Other Ideas.

* How about a series of courtyard concerts, where musicians play in the courtyards of designated apartment buildings, while tenants enjoy the music from the safety of their own balconies?
* Or the inverse of that, where the musicians in a band each occupy a separate balcony in an apartment building, and play together, for an assembly of safely-distanced tenants in the courtyard?
* Perhaps solo musicians could be booked to play at regular intervals along hiking trails, or pathways in public parks, safely distanced, so people getting out for exercise during the pandemic might stop to hear some live music, enhancing their journeys.
* Municipalities across the country might allow restaurants to host patio performances, to further improve the outdoor dining experience (although Toronto ruled against them during its recent relaxation of regulations to combat the pandemic).
* Why not allow live shows at any central gazebos in public parks, as long as the audience maintains (moderately enforced) social distancing?

These smart adaptations prove that different kinds of in-person live shows are still available to us, and offer a few rays of hope that there’ll be more to come. Here’s to the next wave of creative thinking that helps to get us even further back to live.

About Howard Druckman

COVID-19: This Too Shall Pass

Published 04/2/2020

By Alan Cross

One night in early 1348, a rat scuttled down a street in Florence, Italy. It was a stowaway on a merchant’s cart hauling goods from the port of Livorno. Or perhaps it came with cargo from a ship docked somewhere on the east coast carrying goods from Greece, Crimea, and other points East.

Hitchhiking in the rat’s black fur were fleas infected with the bacterium Yersinia pestis, the trigger for bubonic plague. As a result of Florence’s non-existent sanitation and hygiene practices, the rat population exploded, and with it, cases of the Black Death.

By the end of the year, Florence had become an epicentre of the pandemic. And in just three years, 50,000 people – half the city’s population – had died.

But a strange thing happened. The plague began to change humanity’s view of the world. People began to question their very existence and the reality around them. Instead of being focused only on the church and making it into heaven, people started pondering their current situation as living beings. This new attitude, which we now call humanism, came to dominate the discourse of scholars, intellectuals and artists.

This radical shift in thinking led to the Renaissance, which took stagnant European society from the Middle Ages to the modern age. Florence (and Italy in general) entered a period where much great art was produced, from painting and writing to architecture and poetry. In fact, the term “Black Death” (mors nigra in Latin) first appeared in a poem written in 1350 by a Belgian astronomer named Simon de Covino.

Music, of course, was also greatly affected.

After centuries of creating music based around Pythagorean tuning, a new musical language based on polyphony emerged. The printing press – a Renaissance invention – made it possible to distribute sheet music across the continent. We began to see our first musical stars in the form of composers and performers.

Let’s skip ahead a few hundred years. As the world’s population recovered, Europe was hit with a series of plagues. Henry VIII spent a time in self-isolation as a result from the Sweating Sickness outbreak of 1529. Then a great epidemic hit London in the early 1600s.

Once again, anxious times led to an outbreak of great art. Shakespeare wrote King Lear, Macbeth, and Antony and Cleopatra in 1606. And at exactly the same time, composers like Bach, Vivaldi, and Handel began musical experiments that would later be known as the Baroque movement, something that would influence music for centuries to come.

Again, fast-forward a couple of hundred years. In the late 1800s and early 1900s, one of the unhealthiest cities in the world was New Orleans. The heat, humidity, the swamps, and the constant visits by ships from the Gulf, the Caribbean, and beyond, made it a transit point for disease like influenza (a worldwide outbreak in 1889-90 killed at least a million people), cholera, encephalitis, yellow fever, and more bubonic plague. Yet New Orleans found time to invent both ragtime and jazz, the dominant form of North American music during the first half of the 20th Century.

When jazz spread everywhere in the 1920s, was that a joyful reaction to the end of the Great War, or an expression of relief after the Spanish flu of 1918-1920 burned out? Maybe both.

Consider, too, the HIV/AIDs crisis of the late 20th Century. How much great art – music, theatre, novels, film, dance, and so on – was inspired by that terrible time?

Now think about where we are today. It’s dire for the music industry. No one’s touring. Music venues are closed. Music sales have cratered to their lowest level since the 1960s. Even streaming is down, as people look to other sources of entertainment to pass the time while they’re locked down. Musicians, crew, promoters, agents, managers – everyone associated with the art and business of music has been sidelined from their usual ways of working.

But it might not be all bad. Already artists have found creative ways to reach out to the public through various forms of live streaming. Others are inevitably using this time to write, and experiment, and record at home. How many bored young people have finally picked up that guitar, or sat at a piano, only to discover that they have a natural talent for music? Manufacturers have made synth apps available for free so that people can fool around with them. Will that result in something unexpectedly great? I bet it will.

When this is all over, we could find ourselves with more great music than we know what to do with. The fall of 2020 and the early months of 2021 has the potential to be very exciting. And while virtual concerts and live streams will continue, society wants to be physically present when art is on display. The gigs and the tours will come back.

Meanwhile, if you’re an artist, keep a daily diary. Write down everything you’re feeling and any observations you have of the current condition of humanity. Document what’s going on the best way you know how. Who knows what kinds of creative breakthroughs will result?

Above all, hang in there. Stay safe and stay healthy. Concentrate on what you do best. As in the past, these anxious times will inevitably produce great art. And you just might be the person to do it.

About Alan Cross

Wouldn’t it be great if CBC Music/ICI Musique played all-Canadian music for two months?

Published 03/18/2020

By David Myles

Posts on the SOCAN blog Music.People.Connected. offer the opinions of the contributors only, and do not necessarily reflect the opinion of SOCAN.

I had just finished sound check, was eating dinner pre-show, when the presenter came to tell us that New Brunswick had just issued a proclamation limiting public gatherings to fewer than 150 people.

Our show was cancelled, as well as every other gig we had planned for the next couple months. I was not alone, every musician I know was in a similar situation. You could see it everywhere.

Touring is our primary source of income. Now, without that revenue stream, the other sources of income become vitally important.

I was thinking about all this, while I was reading everyone’s posts, when it hit me: what would it look like if CBC Music/ICI Musique played all-Canadian/Franco-Canadian content for the next two months? It seemed easy and direct – a simple way to make a big difference.

The infrastructure already exists for SOCAN to collect the royalties and for CBC to program the music 24 hours a day.

CBC Music/Ici Musique’s mandate is already to support Canadian/Franco-Canadian music, their job is already to be engaged with it, and their on-air personalities already love it. And 24-hour Cancon might allow them to expose listeners to Canadian music that they haven’t already heard.

This would benefit Canadian artists, across all scales of the sector. From musicians cancelling a club tour, to Jessie Reyez, who was going to open the biggest tour in the world for Billie Eilish. Imagine how heavily invested she would have been in that tour, “all in,” with all the merch that was manufactured, for example.

CBC Music/Ici Musique taking this kind of action would make a real difference in the lives of all sorts of Canadian/Franco-Canadian musicians. It’s a tremendous opportunity.

Now is the time for them, and us, to rally around our creative community.

About David Myles

Coronavirus cuts into the Canadian music industry

Published 03/13/2020

By Howard Druckman

It’s Friday the 13th, and yesterday Canada launched into its strongest, and unfortunately very necessary,  response yet to the rapidly escalating spread of Covid-19, the coronavirus. The JUNOs were cancelled, the NHL suspended play indefinitely, and Prime Minister Justin Trudeau went into two weeks of self-isolation because his wife Sophie Grégoire has tested positive for the virus. Ontario shut down all public schools for two weeks after March break, MLB cancelled spring training, the Canadian Folk Music Awards were cancelled, and so on.

The JUNOS cancellation, while necessary, is especially hard for the Canadian music community to bear. The nominee musicians lost their chance, at least for now, to be nationally acknowledged for their work; some of the under-recognized performers on the broadcast awards show lost their opportunity to play on a nationally televised stage; performers in JUNOfest lost access to a broad industry audience in the bars and clubs of the host city. And that doesn’t even consider the huge losses of people who work throughout the entire ecosystem of the event — all of the employees at the airlines, hotels, bars, restaurants, taxi companies, ride-sharing programs, music venues, and so on, throughout Saskatoon.

Worse than that, gatherings of more than 250 people have either been banned or censured, with good reason, to stop the spread. For the next two weeks, this is going to hurt touring musicians playing any venues larger than that capacity. SXSW and Coachella cancelled themselves, while major concert promoters Live Nation and AEG Presents cancelled or postponed all of their tours. Many Canadian acts – from Glorious Sons to The Weeknd to Devin Townsend to Jessie Reyez (opening for Billie Eilish) – have had to postpone or cancel dates, at least through the end of March. This not only hurts the artists, but the venues, and reverberates through all of the ancillary local business ecosystems, as above.

All signs point to large numbers of Canadians staying home for the next few weeks at least, both to protect themselves and to help stop the spread of the virus. But smaller gatherings of people, so long as we  wash our hands and keep our social distance, are still viewed as safe.

So I suggest that, for the next two weeks, we – safely and carefully – go out to the small-scale music venues closest to us and support our local musicians, who are most in need of that patronage right now. In Toronto, where I happen to live, that means places like the Tranzac Club, the 120 Diner, the Cameron House, Drom Taberna, the Dakota Tavern, etc. If you’re reading this, you probably know the smaller venues you can support in your own hometown.

And if you’re not comfortable going out at all, or you’ve had to self-isolate, then I highly recommend that you click over to your favourite local band’s website or Bandcamp page and buy a T-shirt, or some limited-edition vinyl, or any other kind of merch that puts a little money in their pocket. Winnipeg musician Leonard Sumner had a great idea that he posted on Facebook – asking followers to hit him up for a Facetime concert. He might have been half-joking, but “virtual concerts” could be another way to actually help see musicians through the current crisis.

If you find yourself at home for an extended period of time, music will soothe your soul and calm your nerves. Everyone streaming and downloading their favourite stuff, all day, every day, will eventually add up to that much more in royalties for songwriters, composers and music publishers.

It’s up to you and me to support our local musicians any way we can, and help them get over the next few weeks, or months, until we can all get back to business as usual.

Closer to my heart

Published 01/16/2020

By Andrew Berthoff

This SOCAN blog post, written by SOCAN Chief Communications & Marketing Officer Andrew Berthoff, was uploaded to The Toronto Star website on Jan. 14, 2020, and printed in the newspaper the same day.

I was a 14-year-old in, of all places, the subdivisions of St. Louis when I learned about Rush.

My friend Bret alerted me to this weird Canadian trio. Bret knew about them because his cool older sister, between her apparent penchant for Zeppelin, Steely Dan, and the Moody Blues, got A Farewell to Kings.

Before I knew it, our small, socially awkward, intelligent band of friends were playing the grooves off of Hemispheres, mesmerized by the lyrics and percussion virtuosity of Rush drummer Neil Peart.

We had our own little clique. We were cool to be outcast. And it was mainly Peart who brought our hearts closer to Canada.

To put an even stronger nerd-factor into my musical tastes, I became a bagpiper, as engrossed in piping culture as I was in Peart’s mystic lyrics, Lifeson’s double-necked riffs, and Lee’s improbable bass-falsetto combination. Bagpipes and Rush: unlikely watchwords of my adolescence.

Those halcyon pre-Internet days made us wonder just what they were all about. Geddy? Romantic poetical references to Coleridge’s “Kubla Khan”? Cygnus? Where was this Lakeside Park and its fantastical willows in the breeze? And just how was “Peart” pronounced anyway? Pert? Pea-art? Or could a twist of satined-mustachioed-lyricist-cool make it rhyme with “heart” itself?

One thing was sure: the heart of Peart was art.

Soon I was discovering and enjoying more made-in-Canada music. April Wine. Max Webster. Neil. Joni. I’d wonder what the obscure reference to “Becker’s chocolate milk” meant on the credits on an album sleeve.

We saw two Rush concerts: December 1978 at the Checkerdome and February 1980 at Keil Auditorium. They played three sold-out nights at the latter, having somehow secured a fan base toehold in St. Louis, with the help of Bret, Keith, Rick, Matt, and me.

By that time, though, Rush’s Permanent Waves foreshadowed and countered new wave. As the ironic album title suggested, Rush would stay true to their craft, even though cool was now coming from the U.K. in the form of deliciously synth-y bands.

I went off to college in Minnesota. It was even less cool to love Rush. After detecting some slight musical and video compromise with The Big Money (more irony), I left them for local fare like Prince and The Time, while soaking in as much of The Cure, Echo & The Bunnymen, and REM as possible.

But my interest in Canada, spawned by Rush, continued. Through bagpiping, I discovered that Canada possessed the best pipers in North America, and a thriving scene that I wanted to be part of.

My father and I would journey to Ontario from St. Louis for me to compete in piping competitions in unlikely towns like Cambridge, Dutton, and Maxville. Hours of dad-driven 55 mph travel in our radio-less, ochre-coloured Dodge Aspen.

My heart would leap up driving across the 401 at the top of Toronto. In the distance, could it really be the same high-rise housing featured on the cover of A Farewell to Kings? Eyes cast up on the path of least resistance.

Canada would hold its cool. Within a year of completing university, I fulfilled my subconscious dream and somehow landed in Toronto for good. It was May 1988, and I’d even live in Alex and Geddy’s Willowdale ‘hood for several years. I became a Canadian citizen by 1995, and here I remain.

I would continue to learn and love music made in Canada, and eventually transfer that love, and my career in communications and marketing, to fulfil another subconscious dream: working on behalf of Canada’s songwriters, composers, and music publishers, fighting for their rights, promoting their success.

When I turn my pages of history, I can’t help but to give much of the credit to those days long ago in St. Louis. I thank this unusually compelling power trio for bringing me closer to their art, compelling me to Canada, through music and words.

Neil Peart’s words.

Three Reasons Why SOCAN Members Should Rejoice

Published 09/16/2019

By Diane Tell

1 – Drake is a SOCAN member.
An article titled “Three reasons why,” ending with the name of a superstar is, I admit, a bit of a tease, but I needed to get your precious and sometimes fickle attention. I did it, right? Maybe you know that famous Groucho Marx quotes, “I would never join a club that would have me as a member.” Conversely, I would totally be a member of a society to which Drake would agree to give the management of his copyrights! With an average of 20 million Spotify streams daily, 19 million subscribers, and 7 billion total views on YouTube – to mention just a few metrics of his immense success – the Toronto-based artist could have easily let himself be lured away by the American siren song, but instead, he’s one of us. I’m not privy to secret information, but I gather that means that, at the very least, he’s satisfied with this arrangement. And what’s good for Drake is good for me, and good for our organization as a whole.

2 – SOCAN belongs to us.
I wrote “our organization” because SOCAN belongs to us. SOCAN is not a government agency and doesn’t belong to shareholders: SOCAN is a co-operative, or in other words, a society, that belongs to its members and, more specifically, an economic group based on the principle of co-operation, in which all participants, equal in rights, are associated to carry out activities with the goal of satisfying their work, or consumption needs, by being freeing themselves of the rule of capital.  In 2017, the Blackstone group acquired SESAC, one of the oldest collective rights management organizations in North America, which is itself the owner of the Harry Fox Agency, a mechanical reproduction rights management society founded in 1927. Did you know that? I’m perfectly fine that my modest business capital doesn’t belong to one of the planet’s most powerful investment firms… How about you?

3 – SOCAN, the devil’s advocate, is in the details.
In Canada, there’s a small detail worth knowing: copyright falls under the purview of two devilishly opposite federal departments. Heritage Canada and Innovation, Science and Economic Development (ISED). To avoid any potential faux pas, I’ll quote the official versions of their mission statements, available publicly on the Canadian Government website. Canadian Heritage and its portfolio organizations play a vital role in the cultural, civic and economic life of Canadians. Arts, culture and heritage represent $53.8 billion in the Canadian economy and more than 650,000 jobs in sectors such as film and video, broadcasting, music, publishing, archives, performing arts, heritage institutions, festivals and celebrations. The Copyright and Broadcasting acts, according to this web site, fall under the purview of that federal department. OK, but…  Innovation, Sciences and Economic Development’s portfolio is composed of the following departments and agencies: Canadian Northern Economic Development Agency (CanNor), Atlantic Canada Opportunities Agency (ACOA), Federal Economic Development Agency for Southern Ontario (FedDev Ontario), Canadian Space Agency (CSA), Business Development Bank of Canada (BDC), Copyright Board Canada (CB), etc. That department is also responsible for the regulation of broadcasting and telecommunications – broadcasting, distribution and spectrum licences, telecommunications standards, certification and more. And more? No thanks. I’d like someone to explain to me how Mr. Industry and Ms. Heritage manage to agree on the custody of their children, namely content and creators. But then again, I’ve got other fish to fry. I’ve got songs to write, a show to put together, an Instagram post to publish… I leave the SOCAN experts to deal with this puzzle, that I’d call “the paradox of the Canadian context for copyrights.”

For these reasons and many, many more, I’m incredibly proud to be a member of SOCAN, as well as one of its directors. SOCAN is democratic, has gender parity, it’s innovative, and it’s one of the least expensive rights management organizations in the world. Bold new tools are already in place, or being developed, to achieve the highest possible efficiency when it comes to collecting and distributing our royalties. A new member portal will be live online before year’s end. You won’t believe your eyes when you see it! The music industry, having been completely transformed by the digital revolution, is having a hard time letting go of its old business models. But SOCAN is constantly re-inventing itself, and giving everything it has to offer new and improved services, such as the addition of mechanical reproduction rights – thanks to the acquisition of SODRAC. I’m really happy to be part of the SOCAN family. And you?

About Diane Tell