CMN Newsletter May 2021
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CMN Newsletter May 2021

Game Changer & Make Some Noise
No title available
Color Me Curious
One Nice Bug Per Day
No title available
ojovivo
official daine visual archive

titsay

if i look back, i am lost
Show & Tell

Jar Jar Binks Fan Club

roma★
No title available
untitled
Phantogram Three
2025 on Tumblr: Trends That Defined the Year
EXPECTATIONS
YOU ARE THE REASON
macklin celebrini has autism
Claire Keane
seen from Malaysia

seen from Singapore
seen from United States

seen from United Kingdom

seen from T1
seen from Australia
seen from Malaysia

seen from United States
seen from France
seen from United States
seen from Brazil

seen from Türkiye
seen from United States
seen from Netherlands

seen from Singapore
seen from United Kingdom

seen from Australia

seen from Australia
seen from United States
seen from Bangladesh
@collectivemusicnation
CMN Newsletter May 2021
New Post has been published on https://collectivemusicnation.com/cmn-newsletter-may-2021/
CMN Newsletter May 2021
Together @thecollectivemusicnation and the @frayfamilyfoundation helps artists and kids across Canada who are not able to or capable of getting access to the necessary tools to support their musical...
Together @thecollectivemusicnation and the @frayfamilyfoundation helps artists and kids across Canada who are not able to or capable of getting access to the necessary tools to support their musical...
The Music Development Fund by @thecollectivemusicnation provides opportunities for musicians to fund various projects to develop their craft. Approval dates are 4 times a year and the programs...
CMRRA Reports $12M Q3 Payout To Members
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CMRRA Reports $12M Q3 Payout To Members
PUBLISHING Oct 15, 2020 by FYI Staff 0
The Canadian Musical Reproduction Rights Agency (CMRRA) reports $12-million in its third-quarter distribution numbers. The payout to member music publishers and affiliated songwriters comes from the issuance of licenses to broadcasters and other media for the reproduction of their songs.
CMRRA President Paul Shaver, who is celebrating his first year leading the collective management organization, said: “We are very grateful to our hard-working staff whose collective focus has once again ensured on-time distribution, and to our partners at SoundExchange for the continued support of our operations. I also want to acknowledge our licensees for maintaining the ongoing payment of royalties due to rightsholders across all platforms. We’ll continue to remain focused on distributing royalties efficiently to our music publisher and self-published writer clients, especially during this exceptionally challenging time for those working in music.”
Headquartered in Toronto, CMRRA celebrated 45 years of operation in June.
About CMRRA The Canadian Musical Reproduction Rights Agency Ltd. (CMRRA), a SoundExchange company, represents almost all of the music publishers doing business in Canada. CMRRA licenses dozens of digital services including all of the major online music services operating in Canada. It licenses, collects and distributes royalties for the majority of songs recorded, sold and broadcast in Canada. For more information, visit cmrra.ca.
Five Questions With… Gary Beals
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Five Questions With… Gary Beals
Oct 08, 2020 by Jason Schneider 0
Some artists find it difficult stepping back into the spotlight after a long hiatus, but not R&B recording artist Gary Beals. The former Canadian Idol runner up and Juno nominee is returning Oct. 23 with his third album called Bleed My Truth, which, as the title suggests, documents the changes Beals has gone through since putting his last album in 2009.
It will be preceded on Oct. 9 by a new remix of the single Blood Red Roses, a song inspired by a trip Beals made to South Africa in February 2019 that he says was completely re-invigorating and made him appreciate his cultural heritage in ways he’d never experienced before.
As the last song written for Bleed My Truth, Blood Red Roses became the perfect way to sum up Beals’s journey of self-discovery to this point, dating back to his childhood in the rural, predominantly Black community of Cherry Brook, Nova Scotia, where he found his voice singing in his local church choir.
We spoke with Gary Beals to find out more about that journey, and you get more information about Bleed My Truth at garybeals.com.
Why 11 years between releases?
Good question! A little while after the release of my second album in 2009 I actually began to lose the passion for music. I found that I was losing parts of myself, so it was important for me to take a step back and find me again. I was living life based on the opinions and expectations of others. My connections didn’t feel authentic or genuine. I didn’t really have a grasp on my life direction. In addition to this, I didn’t feel like I was being authentic in my personal life or my music. Music was no longer fun and purposeful for me and it was then I knew it was time for me to take a break—to really live on my own terms, to travel, and to step out of the spotlight and reflect, learn and grow. I then began to embrace pieces of myself that I had neglected. The desire to create music came back and my love for music returned. It’s been 11 years since my last release but it honestly feels like I never left and I’m excited to share my new album, one that speaks on my journey right up to this point.
What would you say has been the biggest change in your approach to music since 2009?
I think it’s the importance of showing up as my authentic self. That’s where the beauty is. Through that, I can create music that represents who I am. I now walk with different energy and in that, I am able to create more meaning and intention. I’m less in my head and more focused on just being. I’m also less restricted and more open to exploring creatively and seeing what feels authentic and it’s amazing what that type of energy attracts. I’m more open to stretching myself and in that, I’m seeing more growth personally and musically.
Which songs on the record have particularly special meaning for you?
It’s such a personal album, so it’s really hard to narrow it down to a few but one would be the lead single Me For Me. The song is a form of liberation for me. It represents self-love, self-acceptance and the importance of being vulnerable even if that means risking it all. It’s also about me finally being able to fully embracing my sexuality and not being afraid to expose that part of myself.
The second song I’d choose is Pictures. It’s more of a reflection on who I was, talking about moments in my life where I felt lost or in pain but understanding that it did not break me. Those were defining moments that actually shaped and built my character. I wouldn’t go back to those days but as the last refrain goes, ‘Everything I ever want, I go it,’ and it feels good to now be in a different headspace. I embrace the full journey.
The third song I’d highlight is my second single from the album, Blood Red Roses. It’s fun and celebratory. I wrote it after my trip to South Africa, which was extremely special. It was my first time in the Motherland of Africa and it was very emotional for me at times, but I felt so much joy, so much love, so much happiness. Hence the line in the song ‘Diamond tears roll down my face, I must be happy.’ I felt like I belonged! The song is an ode to Africa, to my Blackness and to everything that I am. We all deserve to celebrate our worth.
How have you been adapting to engaging with your audience during the pandemic?
This actually has been an opportunity for me to be more engaging with my audience and become more comfortable with showcasing more of my personality, along with sharing new music and letting people know what I have been up to. I’m starting to be more active on socials and just sharing different sides of me, which is something I wasn’t so active on before. It’s actually amazing the connections I’ve made through socials and the people you get to know. I’m also finding that releasing certain content that supports my album such as videos, behind the scenes footage and sharing certain interviews has been a great way to engage my audience. I’m loving it!
What’s your mindset looking ahead to next year and the prospect of hopefully playing live?
Someone recently told me one of my superpowers is my positivity. So, in saying that, I am hopeful that next year will be a great year. 2020 has been a very interesting year but a chance for us to step back and see what’s working and what’s not working within our individual lives. This has been a chance for us to weed out what’s not for us. I believe next year will be full of so much opportunity and a chance to continue building. I’m excited about working on new material and to continue to create. My creative juices are flowing and I love that feeling. I’m feeling inspired despite everything happening around us. I am ecstatic about playing live again. That’s where I thrive, where I come most alive. To be backed by a full band or even acoustic instrumentation is what I’m eager to do. There’s no better energy than performing live and engaging with an audience that is appreciative of live music. I’m so ready!
A Conversation With ..Honey Jam's Ebonnie Rowe
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A Conversation With ..Honey Jam's Ebonnie Rowe
TALENT Sep 30, 2020 by Bill King 0
The past few weeks I’ve spoken to numerous artists and those from the business side of the arts who’ve found a unique way to avoid falling through the cracks or tumbling into despair. Festivals and long-running events have been the lifeblood of the music industry and day to day operations are running mostly on fumes. Fortunately, sponsors like Slaight Music, TD Bank, FACTOR and government entities like Ontario Creates have contributed mightily keeping these year-round happenings in play. Tonight, it’s all about the 25th anniversary of Honey Jam. I spoke with event founder Ebonnie Rowe – but first this background.
“In 1994, while running a mentoring programme called Each One, Teach One, Ebonnie Rowe approached DJX of the Power Move Show to talk about misogynist lyrics in Hip-Hop at the time that were having a negative effect on the way young men were behaving towards women. He offered her an opportunity to explore these issues and she produced a 3-hour radio special Power Move show to discuss how women were portrayed in Hip-Hop lyrics and videos. As a result of being heard on the radio show by the magazine’s editors, she was asked to edit an all-female edition of the now-defunct Mic Check entertainment magazine. The celebration party for that issue in May 1995, intended to be a one-off show, was called “Honey Jam.” The success of the show pointed to a void in the artistic community.
Necessity is the mother of invention, and in 1995, after recognizing the need to do something about the lack of exposure and promotion given to local female artists, as well as the lack of female representation on the business side of the industry, particularly in Urban music, we came up with ideas on how to provide a safe space for, give exposure to and encourage more women in their careers in the music industry. The first show was supposed to be the only show, a celebration of the publishing of an all-female special edition of an entertainment magazine, but the enthusiastic audience wanted more.”
Bill King: 25th anniversary of Honey Jam – what times we live in.
Ebonnie Rowe: Indeed, and we are excited we are still able to have a concert in a beautifully renovated legendary venue, The El Mocambo. Our spirits are definitely up.
B.K: When you say live – is it live virtual or in-person?
E.R: It’s going to be live-streamed.
B.K: The Elmo is fantastic for this.
E.R: It is and totally set up for that. The protocols allow fifty people inside because businesses aren’t affected by the recent reductions, but it is going to be virtual.
B.K: Mainstage, main floor?
E.R: Yes, the main floor.
B.K: You are gifted with 4K video, superb audio – how did you land this?
E.R: It would have never crossed my mind, but someone suggested it to me. I saw what they did for the city’s Canada Day Celebrations and I thought I should reach out and I did, and we got a deal.
B.K: You would need a serious deal for this space.
E.R: I would never be able to do it. I almost fell over when I heard what the regular fee was. But with it being our 25th anniversary, with us being a non-profit, the history of Honey Jam and this historic occasion, they were willing to work with us. They believe in emerging talent and we feel very, very blessed.
B.K: It’s good for the Elmo too, the place has been mostly vacant. To have something artistically exciting in place is a chance for them to utilize all the hi-tech equipment and on-site talent. They have a technical advantage over most facilities.
E.R: It’s getting a ton of buzz as well and that’s a good thing.
B.K: Did you audition talent online?
E.R: I decided from last year we were not holding auditions this year. This year was just going to be about celebrating this amazing milestone and doing amazing things we’ve never done before. The artists thing all came crashing down because of the Covid-19 and because it all involved travel, either international artists coming to Toronto or us sending artists outside of Toronto. None of that is going to happen this year. The concert was always going to be – not here is a new artist but the anniversary party and celebration of iconic women in music in all genres. Each of the alums who are performing – 21 alums and 15 performances all chose artists that had some meaning to them and inspired them in some way or influenced them.
B.K: Who are some of the most prominent alumni performing?
E.R: All are emerging artists. The most well-known out of Honey Jam are Nelly Furtado, Jully Black, Melanie Fiona. Last year it was our hope to have some of them grace the stage again but with travel that wasn’t possible. We have alums like Haviah Mighty, Chatta, Jordan Alexander, who got tapped for the lead in Gossip Girl and has now moved to New York. Those performing – Elise Mariah, Emily Schultz, Chole Jene, Malaika Khadijaa, Jet Lyse and others.
B.K: Will all activities centre around the El Mocambo?
E.R: All around the El Mocambo. If we had time, we could have done more. What would normally take me a year of planning had to be done in a matter of weeks. I’m just trying to get through in fifteen-minute segments. It’s a lot. I feel like I’m in a pressure cooker.
B.K: Did you have any blow-back from sponsors who decided to sit this season out?
E.R: One sponsor who committed last year said they couldn’t, they just didn’t have the money. Another sent out a note saying what we committed to you we will do even if you can’t do what you asked for the money to do. Even if you just need the money for your organization’s survival, we have your back. That was amazing to hear. I went aggressively trying to find other money because we missed a bunch of deadlines. They would have been in March and April when nobody knew if we’d be able to go outside. I had to really pull on people’s heartstrings and ask for some grace. We couldn’t submit for something we were uncertain could occur. We didn’t know until August.
B.K: Most all events have been virtual and for sponsors is was something new. I think now most see the value of ad placement within the event on-line. Especially, for you and that connection with the Elmo.
E.R: There was also time for them to put something together. It all had to come together quickly. I would have loved to have arranged “watch parties,” so people can still have a small gathering and have a big screen where they could watch it and sing along. Hopefully, we won’t ever have this issue again. We are not able to do everything, but we are doing the best that we can. I was very clear I wasn’t doing a Zoom Honey Jam. I’d get one of those big Caribana trucks and load it up and drive down the street before I did that.
B.K: This calls for being very creative.
E.R: Yes, it does. Too many people have given up I find. I was like no, I work too hard. People would say “just celebrate your 25th next year.” No, that would be so inauthentic.
B.K: You’ve got to keep your event alive and breathing.
E.R: You have too. We did some in-person live events and it was mentally helpful to the artists. As soon as we moved into stage three, we got the three in-person workshops. All socially distanced and all safe. People were fatigued by the virtual space and everything through a screen. Even for the live concert, it’s important that the artists play for people in the room even if it is the other musicians. I want them to connect with human beings as well as the broader livestream audience.
Careers: September 24, 2020
New Post has been published on https://collectivemusicnation.com/careers-september-24-2020/
Careers: September 24, 2020
Music & Entertainment
Music Academy Mgr
Toronto Arts AcademyFULL INFO HERE
P/T Private Piano Teacher
Turner Guitar Studio Leduc ABFULL INFO HERE
Music Education Specialist
St. John’s-Ravenscourt School WinnipegFULL INFO HERE
P/T Ops Manager
Burlington Sympony OrchestraFULL INFO HERE
Admin Ass’t
`McNain TV & Electronics Mitchell ONFULL INFO HERE
Bilingual French Lylics Analyst
LyricFind TorontoFULL INFO HERE
Artistic Productions & Production Mgr
Orchestre symphonique de DrummondvilleFULL INFO HERE
Head of Reproduction Rights
SOCAN TorontoFULL INFO HERE
P/T Artistic Director
Kelowna Community Music SchoolFULL INFO HERE
Mobile DJ
Dpearceproductions Deep River ONFULL INFO HERE
Music School Administrator
Tom Lee School of Music Richmond BCFULL INFO HERE
ED
Early Music VancouverFULL INFO HERE
Graphics Dept Mgr
Precision Record Pressing GTAFULL INFO HERE
Ent Paralegal
Seeking Blues Records VancouverFULL INFO HERE
VP, Development
Corp of Massey & Roy Thomson HallsFULL INFO HERE
Music Teacher
Edmonton Public SchoolsFULL INFO HERE
Ass’t Prof
Mnt Allison U Sackville NBFULL INFO HERE
Music Therapist
Fraser Health Delta BCFULL INFO HERE
Agent/Event Organizer
Fever OttawaFULL INFO HERE
Events Coordinator
Castle Mountain Resort Pincher Creek ABFULL INFO HERE
Business Affairs Mgr
Sinking Ship Ent TorontoFULL INFO HERE
Various
Steinway Piano Gallery TorontoFULL INFO HERE
Client Services Mgr
Anthem Ent TorontoFULL INFO HERE
Music Theory Prof
Western U LondonFULL INFO HERE
Legal Counsel
Stingray MontrealFULL INFO HERE
Marketing, Media & PR
Marketing Coordinator
Bell Media MontrealFULL INFO HERE
Communications Mgr
Cisco Systems TorontoFULL INFO HERE
P/T Communications Coordinator
RPRA GTAFULL INFO HERE
YouTube Content Creator
Valnet RemoteFULL INFO HERE
Bureau Reporter
Accessible Media Inc. (AMI) OttawaFULL INFO HERE
Communications & Marketing Mgr
Corus MontrealFULL INFO HERE
Bilingual Outreach & Marketing Intern
Sudbury Indie Cinema Co-opFULL INFO HERE
Digital Media Development Mgr
Bell Media TorontoFULL INFO HERE
Digital Content Manager
Bell Media MontrealFULL INFO HERE
Freelance Digital Content Editor
Bell Media TorontoFULL INFO HERE
Public Affairs Advisor & Comm’s Managers
Revenue Canada VariousFULL INFO HERE
Social Media Coordinator
Kaylin Bean Comm’s TorontoFULL INFO HERE
Digital Copywriter
Sukoshi Mart GTAFULL INFO HERE
Hockey Writer
The Hockey Writers RemoteFULL INFO HERE
Copywriter
Roots TorontoFULL INFO HERE
Reporter
Torstar CambridgeFULL INFO HERE
News Anchor & Digital Project Mgr
The Weekly Voice MississaugaFULL INFO HERE
Assoc Editor
C Magazine RemoteFULL INFO HERE
BIPOC Editor
HarperCollins TorontoFULL INFO HERE
Copy Editor
BlogTOFULL INFO HERE
Food & Lifestyle Editor
BlogTOFULL INFO HERE
Writer
BlogTOFULL INFO HERE
Reporter
Narcity CalgaryFULL INFO HERE
Reporter
Narcity TorontoFULL INFO HERE
Editor/Producer/Journalist
Web Summit TorontoFULL INFO HERE
Client Strategy Director
Twitch TorontoFULL INFO HERE
News Writer
Input RemoteFULL INFO HERE
Content Writer
Pixieset RemoteFULL INFO HERE
Copywriter
LANDR MontrealFULL INFO HERE
Freelance Sponsored Content Writer
Narcity TorontoFULL INFO HERE
Freelance Bilingual Copy Editor
Narcity MontrealFULL INFO HERE
Social Media Strategist
Creative Niche TorontoFULL INFO HERE
Production Mgr
Guru Studio TorontoFULL INFO HERE
Sr Product Designer
Create Music VancouverFULL INFO HERE
Marketing & Product Mgr
Stingray Media MontrealFULL INFO HERE
Editor
Narcity Media TorontoFULL INFO HERE
Assoc Editor
MTL BlogFULL INFO HERE
PR Manager
Amazon Prime Video TorontoFULL INFO HERE
Print Reporters
VariousFULL INFO HERE
Journalists
VariousFULL INFO HERE
Sr Digital Marketing Specialist
Colliers Int TorontoFULL INFO HERE
Freelance Script Writer
Filmless RemoteFULL INFO HERE
Grant and Funding Deadlines
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Grant and Funding Deadlines
FYI Calendar of Grant and Funding Deadlines: Aug. 24, 2020
Festivals and Conference Submission Deadlines
Now Open
CIMA Road Gold certification. Awarded to artists selling at least 25K tickets during their Canadian tour(s) over a 12-month periodFULL INFO HERE
Grants and Funding Deadlines
Now open
Canada Council GrantsFULL INFO HERE
Now open
FACTOR Songwriting Development ProgramFULL INFO HERE
Now open
Passport: Music Export SummitFULL INFO HERE
01-Sep-20
Applications for FACTOR Showcase ProductionFULL INFO HERE
15-Sep-20
Applications for Music Nova Scotia Marketing and Investment ProgramsFULL INFO HERE
17-Sep-20
Applications for MB Music Recording Production Fund Out of Province ArtistsFULL INFO HERE
17-Sep-20
Applications for MB Film & Music Recording Production FundFULL INFO HERE
29-Oct-20
Applications for OMIF Music Industry InitiativesFULL INFO HERE
29-Oct-20
Applications for FACTOR Juried Sound Recording programFULL INFO HERE
Other Conferences and Business Opportunities
25-26-Sep-20
Contact(less) East digital conferenceFULL INFO HERE
25-Sep-Oct-9
BreakOut West, online versionFULL INFO HERE
1-4-Oct-20
CMAOntario Awards and festival, London, ONFULL INFO HERE
21-24-Oct-20
Halifax Pop Explosion, Halifax, NS – online versionFULL INFO HERE
18-21-Nov-20
M for Montreal, Montreal, PQFULL INFO HERE
9-10_Apr-2021
Canadian Folk Music Awards, Charlottetown, PEFULL INFO HERE
11-20-Jun-2021
NXNE Music and Gaming Festival, Toronto, ONFULL INFO HERE
Nielsen Market Watch Facts & Figures: August 20, 2020
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Nielsen Market Watch Facts & Figures: August 20, 2020
Actra RACS
New Post has been published on https://collectivemusicnation.com/actra-racs/
Actra RACS
As the summer of 2020 begins to wind down, we hope you have found time to enjoy the sunshine and keep healthy. The year has affected us all in so many ways, but recorded performers are among those who have been hardest hit by the economic impact of the pandemic. ACTRA RACS will continue to advocate, to ensure performers are compensated for the use of their recorded work. This year may have changed how we work, but it has not changed what we do. We remain committed to providing the best service and appreciate your ongoing patience when accessing our service and getting in touch. As part of our COVID-19 safety response ACTRA RACS continues to work remotely. We are proud to report that our Q2 distribution was seamless, and we continue to connect with performers by email, phone and of course Zoom. We are still here to help, so please connect with us if you have any questions. US-CANADA TRADE AGREEMENT AND ITS IMPACT ON ROYALTY ELIGIBILITYThe Canada-US-Mexico Trade Agreement (CUSMA) took effect on July 1st, 2020, and with it came important changes to the eligibility of sound recordings in Canada. In order to grant full National Treatment to US sound recordings, previous restrictions on eligibility have been lifted. The result is that US recordings will be eligible for all uses including commercial radio and public performance. US recordings fixed before 1972 will also be eligible. The change for pre-1972 recordings came into effect as of April 29, 2020, and all other changes on July 1, 2020. Performances on recordings which are recorded in the USA and owned by a US entity (person or company), will now be eligible to receive royalties. ACTRA RACS continues to monitor the impact of these changes. Stay tuned for further developments.ROYALTY YEAR CLOSEOUT: 1998-2000Did you receive airplay in 1998-2000? If so, and if you haven’t already been paid for usage in this period, now is your absolute final chance to make claims on royalties from these years. After September 1st, 2020, royalties from 1998-2000 can no longer be claimed. To learn more about the closeout for 1998-2000 and subsequent years, please review our closeout schedule. SEARCH OUR CANADIAN AIRPLAY AND USAGE DATABASE!Artists can now search our Canadian Airplay and Usage Database to determine if recordings they’ve appeared on are found in Canadian airplay and usage data. The database covers airplay and usage for all open years (i.e. royalties are still payable) from 1998-2019. Our 2019 data currently includes commercial radio airplay as well as CBC and satellite airplay. If you haven’t already received a payment for titles found in the database, and provided they meet our eligibility requirements, there may be additional royalties to be found. Be sure to check your member account to determine what recording titles have already been linked to you. INDUSTRY SPOTLIGHT: COLLECTIVE MUSIC NATION (CMN)Collective Music Nation is a national non-profit organization that unifies, amplifies and advocates for the needs of the culturally and historically Black Canadian music community. Through resources sharing, advocacy work, community and network building, artist and professional development, and platforms and events that recognize excellence, CMN seeks to strengthen and promote culturally Black musical genres, industries, and artists, that have been historically underserved and underrepresented in the Canadian environment. CMN has also launched a Music Development Fund, which provides funding opportunities to musicians on a variety of different projects. read more… ACTRA RACS COMMUNITY SESSIONSJoin us for a video chat at an ACTRA RACS community info session! Our September session will focus on providing our members with a general overview of our revenue streams, including all you need to know to ensure you are collecting all possible royalties from us here at ACTRA RACS. Full details: ACTRA RACS September Community Session Wednesday, September 10th 3pm (EST), Zoom RSVP soon to reserve your spotSIGN UP FOR DIRECT DEPOSITAs Canada Post continues to operate with important safety measures in place and potential delays in service, we strongly encourage you to sign up for direct deposit if you have not already done so. To receive future payments by direct deposit, please complete and return a scanned or photo version of our Direct Deposit Form as soon as possible. The form can also be accessed in your member account.TELL A FRIEND ABOUT ACTRA RACSThere are plenty of recording artists who have yet to register to collect their share of royalties in Canada and abroad. Often, these musicians and vocalists have forgotten to register or may be unaware that this revenue stream exists. Help us to ensure these artists receive their royalties by telling your friends about ACTRA RACS! Artists can easily register online. When we get through these socially distanced times, at the very least, they’ll owe you a high five for spreading some royalty kindness.
Threat to live music extended
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Threat to live music extended
Posted August 10, 2020 by Quentin Burgess
August 10, 2020, Toronto: Music Canada commissioned Abacus Data to conduct public opinion research to determine how the music industry is being impacted by Canadians’ changing feelings around music, during the pandemic. The second round of the national public opinion survey found that an increasing number of Canadians are concerned about COVID-19, and a growing number of them plan to avoid public events even after restrictions are lifted, resulting in a longer threat to live music.
“The ongoing triple threat facing the live music industry, and all mass gathering industries, requires government action,” said Patrick Rogers, Interim co-Chief Executive Officer. “This threat includes the medical concerns that Canadians have about the virus, that government restrictions on large gatherings will remain well into recovery, and that even after government restrictions are lifted, confidence in returning to live events will continue to be low.”
“Live music was one of the first sectors impacted by the pandemic, and it will continue to feel the impacts long after restrictions are lifted,” continued Rogers. “Artists, venues and support staff will require further support long after other elements of the economy have reopened.”
Concern among Canadians about the pandemic remains elevated, with more believing that “the worst is yet to come” than did in April. The research shows that even as economies begin to slowly re-open, more Canadians expect to stay away from live music events long after physical distancing restrictions are lifted. Even those who regularly attended live music events before the pandemic, 55% said that they will wait at least 6 months or longer to attend a music festival after physical restrictions end – and for large concert venues, it was 60%. Perceptions of risk for attending these types of events are rising over time – instead of declining. The findings ultimately point to the prolonged threat faced by the live music industry.
“This research confirms that Canadians continue to worry about the health impacts of COVID-19. While both artists and fans dearly miss the live music experience, it is clear that ongoing concerns about the virus will continue to significantly impact live events well into 2021,” said Jackie Dean, Music Canada’s Interim co-Chief Executive Officer. “The results show that certain safety measures will help attract some live music lovers back to live events – but many will remain hesitant.”
Many Canadians want to get back to enjoying live music when it’s safe to do so. As the pandemic continues, the research found that self-identified “live music lovers” now miss live music even more than they did in April. 90% of respondents in this group now say “I really miss going to concerts” – and 89% of this group agree that digital content will never replace the feeling of seeing live music (an increase of 5% from polling conducted at the end of April).
This research builds upon Abacus Data’s findings from earlier in the pandemic. In May, Abacus’ national public opinion survey identified the triple threat the music industry faces in its recovery from the impacts of COVID-19.
Music Canada also commissioned Abacus Data to conduct national research that explores the impact of the COVID-19 pandemic through the experience of Canada’s artists. That research found that professional musicians are feeling increasing pressure as a result of the pandemic, due to a reduction in income and their ability to produce music that threatens their ability to survive.
“The pandemic has had a devastating impact on artists’ ability to perform, to create, and to earn a living from their music,” said Miranda Mulholland, artist and Chair of the Music Canada Advisory Council. “While the findings are bleak, this series of research is providing valuable insights for artists, industry, and government as we look for safe ways to return to work. It is clear that artists and those who work closely with them in the live performance space will need further support as the economy begins to reopen.”
For more information on the findings released from Abacus Data, please visit: https://abacusdata.ca/live-music-threat-pandemic-music-canada/.
Slaights' Back City To Support Black Music Biz Professionals
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Slaights' Back City To Support Black Music Biz Professionals
Aug 12, 2020 by Karen Bliss
Pictured left to right: Slaight Music President Derrick Ross, UMC Creative Executive Director Kardinal Offishall, Phoenix Concert Theatre’s Lisa Zbitnew, Deputy Mayor Michael Thompson, (behind) Sony Music Talent Acquisitions Manager Craig ‘Big C’ Mannix, Mayor John Tory, Advance Board member and Warner Music Chappell Music GM Vivian Barclay, and UMC CEO and Chair Jeffrey Remedios.
A little over two months after Blackout Tuesday (June 2) forced the music industry around the globe to galvanize and step up in support of the Black Lives Matter movement — in response to the killings of George Floyd, Breonna Taylor and Ahmaud Arbery by the police — the real change that Atlantic Records execs Brianna Agyemang and Jamila Thomas were hoping to encourage after their one-day #TheShowMustBePaused gesture is starting to happen.
“Our mission is to hold accountable the industry at large, including major corporations and their partners, who benefit from the efforts, struggles and successes of Black people,” it reads in part on the web site. “It is the obligation of these entities to protect and empower the Black communities that have made them disproportionately wealthy in ways that are measurable and transparent.”
In Canada, all three major labels made statements that month about their commitment to significant change, including internal reviews and training on racial bias, and the hiring and advancement of Black employees.
This month, Advance, Canada’s Black Music Business Collective, was launched by Warner Chappell general manager Vivian Barclay, entertainment lawyer Mira Oballa and Sony Music A&R manager Craig Mannix, after they came up with the idea last year, with the aim to help create conditions for long-term success for Black professionals by addressing racial equality and inclusivity in all sectors of the Canadian music business and hold the corporate, private and government sectors accountable.
And now the City of Toronto, where the majority of Canada’s music industry is based, and Slaight Family Foundation have each pledged $1 million — $250,000 a year for the next four years — to support the entry, retention and advancement of Black professionals in Toronto’s music industry.
“One of the mandates of the Slaight Foundation is to support the creative arts in this country and, in doing so, help expand the vital Canadian entertainment industry, whether it be in front of the spotlight or behind boardroom doors,” Gary Slaight, president/CEO, Slaight Communications, said in a statement. “The Advance program will provide support for young Black entrepreneurs in all aspects of the music industry: record labels, management companies, agencies, publicists, artists and producers. The Slaight Foundation is proud to help assist this necessary and beneficial Canadian initiative.”
The City of Toronto said the terms of the seed funding for Advance were being worked out, and that initial funding from the City and the Slaight Family Foundation will go to other organizations in Toronto supporting the development of Black professionals in the music industry. Which organizations and projects get funding will be determined by an advisory group that includes representatives from Advance, the Slaight Family Foundation and the City of Toronto.
The statement added the involvement of the Toronto Music Advisory Committee “will reflect the priorities outlined by Advance in terms of data and research, internships, and mentoring, among other initiatives.”
During a CTV special, Change & Action: Racism In Canada, back on June 13, Colombian-Canadian singer-songwriter Jessie Reyez called out the major labels for their low numbers of Black staff and executives, citing figures that were not too far off the mark. FYI Music News reached out to the label heads for verification and comment.
At the time, Warner’s staff total was 82, seven of whom are Black, including publishing’s Barclay, and Sony, while not providing a specific figure, said the number of employees who are Black is higher than what was stated (90 employees, only eight are Black, said Reyez), Universal, which Reyez said had “175 employees, 11 Black people,” would not specify a number “to protect the privacy of our employees.” This week Warner announced the hiring of artist Jeffrey “LordQuest” Nuamah to the A&R team.
Meanwhile, the Canadian Independent Music Association (CIMA) is two weeks into a 10-part online panel discussion series called Breaking Down Racial Barriers, which starts every Tuesday at 1 p.m. EST.
The City and Slaight Family Foundation’s $2 million commitment will help support initiatives aligned with Advance’s four pillars of action: research, advocacy and government partnerships; mentorship and education; community outreach; as well as business development and entrepreneurship.
Among the goals, listed in the press release, are seed funding to support the establishment of Advance; research to analyze and assess racial discrepancies in the business sector of the Canadian music industry; a mentorship and internship program, with placements to begin in 2021; a pilot initiative to support Black managerial talent development in cooperation with community training partners; and master classes on music industry career development.
Mayor Tory and Slaight Music president Derrick Ross were joined Aug. 10 at the Phoenix Concert Theatre for the announcement by Advance’s Barclay and Mannix; Deputy Mayor Michael Thompson (Ward 21 Scarborough Centre), chair of the Economic Development and Culture committee and member of the Toronto Music Advisory Committee; Jeffrey Remedios, chairman/CEO of Universal Music Canada; Lisa Zbitnew, co-owner of the Phoenix Concert Theatre; and artist/Universal Music Canada’s creative executive director Kardinal Offishall.
“I am proud that our City will be partnering with the Slaight Family Foundation to provide critical funding to help support the advancement of Black professionals within our thriving music industry,” says Mayor Tory in a statement.
“This announcement represents significant and tangible steps towards real change that will help address an ongoing gap within our city’s music industry. I want to thank Slaight Family Foundation, Advance and Universal for partnering with us and for helping us provide opportunities for Black professionals in our city. The time to invest and create change is now as we work towards confronting and eradicating anti-Black racism within our city.”
This new partnership will be reviewed in 2022 to track results and efforts made through this funding commitment and aligns with the City’s Confronting Anti-Black Racism Action Plan and the Toronto Music Strategy.
Additional statements:
“Advance is committed to leading the change for real, tangible reform in the music business landscape and infrastructure in corporate, private and government sectors. We look forward to partnering with Slaight Music and the City of Toronto to create pathways for learning, and opportunities for change and development for current and future Black talent and professionals in Canada.” – Vivian Barclay, music publishing exec and Board member of Advance
“The advancement of Black professionals in Canada’s music sector is an essential and long-overdue priority. Universal Music Canada is proud to serve as an industry partner of this initiative. We look forward to working alongside Advance and welcome others from across the Canadian music and corporate communities to join in supporting this important effort.” – Jeffrey Remedios, chairman and CEO of Universal Music Canada
“Toronto’s rich history of Black music has enriched our city’s culture and helped create one of the world’s best music scenes. Thanks to musicians such as Drake and the Weeknd, Toronto’s global identity is inseparably linked with hip hop and R&B. Today’s announcement will help encourage and sustain the next wave of Black talent and leadership.” – Deputy Mayor Michael Thompson (Ward 21 Scarborough Centre), Chair of the Economic Development and Culture committee and member of the Toronto Music Advisory Committee
“This partnership supports the Toronto Music Strategy and it is another step towards correcting the music industry’s historic under-investment in the development of Black talent, especially in senior leadership roles. I and the members of TMAC look forward to working with Advance to make these critical changes.” – Councillor Joe Cressy (Ward 10 Spadina-Fort York), chair of the Toronto Music Advisory Committee
Music Development Fund
New Post has been published on https://collectivemusicnation.com/music-development-fund/
Music Development Fund
Program Guidelines Now Posted
Five Questions With… Collective Music Nation's Tim Fray
New Post has been published on https://collectivemusicnation.com/five-questions-with-collective-music-nations-tim-fray/
Five Questions With… Collective Music Nation's Tim Fray
Jul 27, 2020 by Jason Schneider 0
The recently launched Collective Music Nation (CMN) is a national non-profit organization aiming to unify, amplify and advocate for the needs of the Canadian Urban (culturally/historically Black) music community. Through resource sharing, community and network building, artist and professional development, and platforms and events that recognize excellence, CMN seeks to strengthen and promote culturally Black musical genres, industries, and artists that have been historically underserved and underrepresented in the Canadian environment.
CMN’s president is Tim Fray whose career as an artist and producer dates back to the mid-1980s. In conjunction with CMN, he has developed the SIX Element Music Group, a consulting and mentoring program aimed at helping artists become world-class performers, and through his Fray Family Foundation he’s spearheaded the Backpack Love Program that provides kids in need with the full range of back-to-school supplies.
The Fray Foundation is also a partner in CMN’s Music Development Fund that will give worthy applicants financial assistance with demos, tour support, marketing and other expenses. All of this will be available to those choosing to become a CMN member, with the overarching goal being individual CMN chapters across Canada operating under the parent office in Toronto.
We spoke with Tim Fray about his bold vision for CMN, and how it could potentially reshape the Canadian music industry’s power structure. For more information go to collectivemusicnation.com.
What inspired you to launch Collective Music Nation, and how are things progressing so far?
In 1984, there were five close-knit siblings between the ages of 14 and 19. They were raised to think of others first. This was my family. Our love for music started at church and extended into our adult lives. Since the mid-1980s, the Fray family has been involved with the music community not just in Canada but around the world. My siblings and I not only became successful musicians, we’ve always tried to give back to our community as we were taught growing up.
My brother Jeremy and his wife gave up their home and belongings to spend a year on the streets of Toronto advocating for the homeless. My sister Margaret Fray-Smith chose to open up her home to countless impoverished, underprivileged youth who were thrown into a government system that did not look out for their best interests. She also adopted some of the kids to make sure they would all stay together as siblings and not be spread out in different homes around the province.
My brother Cameron started multiple youth choirs to get them off the streets. He was an advocate for fatherless kids and the need to have fathers be with their children.
Sadly, Jeremy passed away in 2008, Cameron in 2017, and Margaret in 2019. Obviously, this affected me deeply and my first response was to start The SIX Element Music Group, a program within our Fray Family Foundation. This was my way of helping artists around me in the city of Toronto. I was then approached by the Urban Music Association of Canada to join with the rebuilding of their organization. I thought that this was a great opportunity to expand what I was doing in Toronto to all of Canada. Unfortunately, UMAC’s objectives were not in line with mine and in March, just before the Covid-19 stay at home hit Canada, Collective Music Nation was created.
Ron Brandt was a huge component in bringing this together with myself and Nigel Bipatnath. We have three Executive Board Members, and 13 on our Ambassador Advisory Board. In conjunction with the Fray Family Foundation, we’ve worked hard developing our CMN and on July 1 we officially launched our membership drive campaign.
What are your main goals for CMN?
The goals essentially fall into three categories. The first is Community and Network Building, which will include a virtual resource centre and database, access to professional and social supports including a pension plan, and a musicians’ job bank.
The second goal is Recognition and Advocacy. We want to recognize artistic excellence in culturally Black music genres and advocate for the needs of the Urban music industry through media campaigns and government lobbying efforts. We’ll also be holding regular workshops and summits addressing all aspects of the Canadian Urban music community.
The third goal is to provide artist development through the SIX Elements training program and the CMN Music Development Fund.
The Music Development Fund is definitely a great incentive for people to become CMN members. What sorts of artists would you suggest apply?
We are looking mainly for artists from all over Canada who are from underserved Urban music genres, which encompasses gospel, reggae, R&B, hip-hop, jazz, soul, Dancehall, Soca, and more.
On a personal level, are you encouraged that the Canadian music industry is embracing more diversity?
As an artist myself since 1986, I understand the struggles that the urban community has with being widely recognized within the mainstream music industry. It’s a talking point that has been heard for most of my life. Am I encouraged? Yes, but I’ve always had hope that things will change. Still, words are just words, and tangible action within the Canadian music industry as a whole needs to be seen and done on a constant basis for true change to happen.
Obviously, doing all of this in the middle of the pandemic is challenging. What are some of the things you hope to achieve once things hopefully get back to normal?
Once we are hopefully back to normal, we are planning to travel across Canada to meet with other like-minded organizations to offer our resources and see where CMN can help with their objectives in their own communities. There is interest in establishing CMN chapters throughout Canada, so we will be meeting with all the possible applicants.
We are planning the first CMN Music Week for September 2021, and the CMN Live Awards show to cap off the end of that music week. Workshops and showcases will be set up and announced across Canada. These are a few things that CMN is working on for when we are able to get back out there face to face across the nation and show that Collective Music Nation stands for One Voice, Strength in Unity.
Brampton's 'WondaGurl' Lands Major Publishing Deal
New Post has been published on https://collectivemusicnation.com/bramptons-wondagurl-lands-major-publishing-deal/
Brampton's 'WondaGurl' Lands Major Publishing Deal
Brampton’s ‘WondaGurl’ Lands Major Publishing Deal
PUBLISHING Jul 22, 2020 by David Farrell 0
Multi-platinum, Grammy-nominated producer Ebony “WondaGurl” Oshunrinde, a 23-year-old Canadian-Nigerian producer, has been signed to Sony/ATV Music Publishing, in partnership with Travis Scott’s Cactus Jack Publishing.
Starting her career creating beats at her parents’ home in Brampton, WondaGurl has produced popular songs including Antidote, No Bystanders, and Can’t Say by Travis Scott, Aim for the Moon by Pop Smoke ft. Quavo, Christopher Walking by Pop Smoke, platinum single No Idea by Don Toliver, Gang Gang from JackBoys’ #1 EP album, B**ch Better Have My Money by Rihanna, and Company by Drake ft. Travis Scott.
WondaGurl is also one of the youngest women to add production to a platinum-selling hip hop album due to her work on Jay-Z’s 2013 album, Magna Carta Holy Grail.
In 2018, WondaGurl was featured in the Music category of Forbes 30 Under 30, which recognized her success as a producer. In addition to her production work, she has made the transition to a label and publishing executive by entering into a publishing joint-venture with Sony/ATV and her company Wonderchild, which focuses on developing the next generation of producers and giving them the chance to work with artists alongside her. She has already signed two longtime collaborators to her publishing imprint this spring.
She has also staked her claim in the branding world, collaborating with Beats, the Toronto Raptors, Sprite, and Reebok.
After entering her first Battle of the Beatmakers competition in 2009, Oshunrinde met producer Matthew “Boi-1da” Samuels, a fellow Canadian who has created tunes for such hitmakers as Kanye West, Eminem and Nicki Minaj. “I’d email him beats and he’d send his feedback,” she told The Hollywood Reporter in 2013. She named herself “Wondagurl,” a spinoff of Boi-1da’s handle, as a way to pay homage to the producer.
In the same article, she recounts working with Drake on his album Nothing Was the Same: “We went into the studio here in Toronto,” she says. “He wants a banger. That’s what he told me. So that is what I am going to make him.” How much progress have they made so far? “The studio session wasn’t very long,” she confesses. “I had to go because my mom was calling me home.”
Black voices in Canada's music industry
New Post has been published on https://collectivemusicnation.com/black-voices-in-canadas-music-industry/
Black voices in Canada's music industry
Behind the collective fighting to advance Black voices in Canada’s music industry
‘Let’s try and do something that’s going to be lasting. Instead of just putting up a black square’
Holly Gordon · CBC Music · Posted: Jul 22, 2020 10:26 AM ET | Last Updated: 6 hours ago
A little more than a month after people took to the streets in record numbers to protest the killing of George Floyd, a Canadian Black music business collective called Advance announced its launch, hoping to combat anti-Black racism in the music industry.
“We were talking about [the collective] starting I’d say some time last year,” says Advance co-founder and entertainment lawyer Miro Oballa, who’s currently based in Toronto. “With everything that was happening and [with] the protests and everything in America, which then led to the music industry there doing the Black Out Tuesday thing, that actually ended up spurring some other people here as well in Canada to want to do something.”
Fellow co-founders Vivian Barclay, general manager of Warner Chappell Music Canada, and Craig Mannix, an A&R manager A&R for Sony Music Entertainment Canada, are among the people who officially came together to register the non-profit organization. Oballa says they currently have a working group of about eight people to finalize a soon-to-be-public list of volunteer board members, and will eventually hire an executive director. Rapper Kardinal Offishall, who is the creative executive director for Universal Music Canada’s A&R team, is also involved with Advance.
“[We] came together and said, ‘OK, you know what, let’s really work on this, let’s try and do something that’s going to be lasting,’ you know? Instead of just putting up a black square,” continues Oballa, laughing lightly. “Let’s properly create an organization that has the interests of the Black community at large and music community and music artists and everybody — [that] has those interests at heart. And let’s see if we can figure out some real ways to solve some of the systemic problems that we’ve seen in the industry over the years.”
Oballa’s nearly 20 years working in the music industry as an entertainment lawyer have also seen him serve as both a Polaris Prize Music and Canadian Live Music Association board member, experience that he’s ready to bring to the Advance table. He talked to CBC Music over the phone about getting the collective started, what it really wants to do within the Canadian music industry, and how to support it going forward.
How did you get involved with Advance?
It was something that myself and some other senior executives in the business have been talking about for a little while there, because, you know, even though I’ve been in the industry for 20 years, one of the things that I was noticing, and as were others, was that unfortunately, the representation of Black people within the industry wasn’t really increasing. It was static. And in some cases, frankly, it probably decreased from a time, because when the revenue started to decrease because of situations like Napster and file sharing … a lot of the departments [in Canada] that were forced to reduce were often the “urban” departments, right? So you actually probably had a contraction of Black people working in the industry for the first little bit and then it didn’t really change. And that was something that was a bit frustrating and kind of saddening.
Aside from the co-founders, who’s working behind the scenes right now?
I guess for now, what I can say is it’s a cross section of Black people working in the music space, and that includes people working at the publishers, people working at record labels … all of that. That’s on the board level. And on the membership level, it’s broadly open. We’re just going through the process of building our membership across Canada, you know, just in the various pillars of the industry, but also in the various provinces because even though the industry is concentrated in Toronto, there is a music industry across the country and we want to make sure that we’re representative of everybody.
Why did you choose the name Advance?
It’s a bit of a double entendre. But the chief name is Advance in terms of advancement, right? The key being the advancement of Black people within the music industry. And then the sort of play on it is that often for business advisers who are new to the music industry, whenever they’re doing a deal, whether it’s a record deal or publishing deal on behalf of their client, they tend to be focused on the advance, which is the money that the artist or songwriter or producer gets when they sign. But … you’ve got to pay [it] back with future royalties. So it’s often not the most important part of your deal. But it’s the part that people end up focusing on. So part of [the name] is a reference to education.
What has the response been like since you opened up the membership?
Generally positive, yeah. A lot of excitement. And I think a lot of people feel like, “OK, it’s a long time coming,” and I think people are glad that the opportunity exists. That an organization like this is going to be there to act as a unified voice.
I know it’s pretty early in the game, but in terms of what Advance has laid out as objectives, I’m wondering if you know any tangible ways that you want to provide that unified voice for Black people working in the Canadian music industry?
There’s a few things that we’re looking at. One of the things that is important out of the gate is to conduct a proper audit of the industry at large. Right now, we’ve got some sense of things like numbers of people who are employed and that, and where people work in the different sectors, but really getting a proper lay of that land is important.
In conjunction with that, getting a sense of, OK, how much does Black music currently contribute to the music economy in Canada, right? And then in addition to that, one of the key things for us is building proper mentorship and training programs. So, whether that’s us liaising with the organizations that are doing that and connecting members or potential people who potentially want to work in the industry with those situations, or establish those structures ourselves so that people can be properly equipped with skills in order for them to succeed.
And how do you want to hold corporate, private and government sectors accountable?
I think in a variety of ways. Like I said, the first part is getting an understanding of, OK, what are the numbers? … Ensuring that any potential kind of systemic barriers, whether conscious or unconscious, that may restrict the hiring of Black people in the industry or the advancement of Black people in the industry [are] examined and addressed. That’s a key one. And ultimately also creating a place for the larger industry to be able to go to have these conversations. One of the nice things has been that we have gotten the sense that the industries want to have these conversations. But sometimes, you know, the willingness and then the ability to have them are two separate things. So that’s what we have to provide.
And in terms of going forward, how do you want people to support this collective?
Through a number of ways. Through memberships. There’s opportunity also to be an ally of the organization if you don’t fit the membership criteria, but want to support nevertheless. We’re also in discussions with some of the different industry pillars about funding and support and how we can help work with them, and how they can work with us.
Since it’s early days for the organization, is there anything else you’d like people to know about it as it’s forming?
I would say that at the end of the day, I think the takeaway is that we’re here. It’s been a little while coming but we’re here and we’re ready to really try and make some progress on some of these issues that have been plaguing the industry here for a while.