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Uniter #15 V2.Qxd
UWinnipeg Babies & Parents Page 8 Rings, Best of the Kings Year Rundown & Epic Page 12 Things Page 11 VolumeUniter 58, Issue 15 january 8, 2004 THE Uniter T HE O FFICIAL W EEKLY S TUDENT N EWSPAPER OF THE U NIVERSITY OF W INNIPEG Indepth Wesmen Classic Coverage - page 18 page 2 january 8, 2004 the uniter uniter the news Volume 58, Issue 15 January 8, 2004 S T A F F Jonathan Tan Editor In Chief [email protected] Michelle Kuly Managing Editor [email protected] A. P. (Ben) Benton News Editor [email protected] Cheryl Gudz Features Editor [email protected] Jeff Robson A&E Editor [email protected] Leighton Klassen Sports Editor [email protected] Stu Reid Production Manager [email protected] Julie Horbal Listings Editor [email protected] Chandra Mayor Copy Editor From left to right: Carole Wylie Basarab (Vice- Chair of The University of Winnipeg Board of Ted Turner Regents & Chair of the Presidential Search & Advertising Manager Nominating Committee), Richard Graydon [email protected] (Chair of The University of Winnipeg Board of Axworthy to be Regents), Lloyd Axworthy, Denise Ommanney, Sherman Kreiner (Deputy Chair of The Scott deGroot University of Winnipeg Board of Regents), H. Beat Reporter Sanford Riley (Chancellor of The University of Winnipeg & Chair of The University of King of Castle Winnipeg Foundation Board) Kent Davies Diversions Coordinator experience and acumen, commitment to the Although Chris Minaker, President of BY A. P. (BEN) BENTON local and global community, and vision will be the University of Winnipeg Student's The University of Winnipeg Board of joining the remarkable administrative team Association, says that they are excited about M.D.Cohen Regents announced on December 15th that Dr. -
CPCC-C32-Committee-S
CANADIAN PRIVATE COPYING COLLECTIVE SOCIÉTÉ CANADIENNE DE PERCEPTION DE LA COPIE PRIVÉE 150 Eglinton Ave. East, Suite 403 Toronto, Ontario M4P 1E8 416 486 6832 1 800 892 7235 416 486 3064 [FAX] www.cpcc.ca CPCC CPCC C-32 Submission Background The Canadian Private Copying Collective (CPCC) is the non-profit organization responsible for collecting private copying royalties and distributing them to songwriters, performers, music publishers and record companies, as well as promoting the interests of rights holders as they pertain to private copying. For over a decade, the CPCC has represented copyright holders before the Copyright Board of Canada. The Board establishes the levies that may be collected after trial-like hearings where experts, representing music rights holders and organizations that represent consumers and businesses that sell leviable blank media, present evidence and are cross-examined. The private copying levy has been an important part of the Canadian copyright regime since 1999, when the first private copying tariff was certified by the Copyright Board, following amendments made to the Copyright Act (the “Act”) in 1997 to allow for a levy to be placed on blank audio recording media. Currently, the levy only applies to blank CDs and MiniDiscs, at a rate of 29 cents per unit, and is paid by manufacturers and importers of these blank media to the CPCC for distribution to rights holders. The private copying levy has provided an effective mechanism whereby consumers are allowed to make copies of music for their personal use without infringing copyright and, in exchange, music creators receive royalties that recognize the value of private copies of their work. -
Shine a Light: Surveying Locality, Independence, and Digitization in Ottawa’S Independent Rock Scene
Shine a Light: Surveying Locality, Independence, and Digitization in Ottawa’s Independent Rock Scene by Michael Robert Audette-Longo A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2016 Michael Audette-Longo ii Abstract This dissertation examines the articulation and reconfiguration of locality in Ottawa's independent (indie) rock scene. It argues that styles of producing and relating to indie music that have been traditionally embedded in local scenic activity and practices of “do it yourself” (DIY) have been translated into more ubiquitous, quotidian, and valuable metadata and labour that organizes and powers the operations of disparate digital media sites, including digital music services like Bandcamp, CBC Radio 3, and Wyrd Distro. This argument is developed through closer analyses of the following case studies: the entrepreneurial strategies and musical focuses of Ottawa-based independent record labels Kelp and Bruised Tongue Records; scene-bound media like zines, blogs, music video and campus/community radio; the re-articulation of local regions as metadata that organize the search and retrieval functionalities of the digital music streaming services CBC Radio 3 and Bandcamp (a particular iteration of local regions I dub the “indexi-local”); and the concurrent incorporation of DIY labour and reconfiguration of the business of independent music evident in the digital music retailers Bandcamp and Wyrd Distro. This project contends that in the midst of digitization, the media sites, entrepreneurial strategies, and subcultural practices traditionally folded into the production of independence in local indie music scenes persist. -
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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Making Scenes: Studying Local Independent Music in Canada By Andrew Vincent, B.A. A thesis submitted to the Faculty of Graduate Studies in partial fulfillment of the requirements for the degree of Master of Arts School of Journalism and Communication Carleton University Ottawa, Ontario April -
A History of the CKCU Ottawa Folk Festival
A History of the Ottawa Folk Festival by Joyce MacPhee and Ottawa Folk Festival Volunteers INTRODUCTION ............................................................................................................................................... 2 OTTAWA FOLK FESTIVAL TIMELINE ............................................................................................................. 3 YEAR 1 – 1994 ................................................................................................................................................... 6 YEAR 2 – 1995 ................................................................................................................................................... 8 YEAR 3 – 1996 ................................................................................................................................................. 10 YEAR 4 – 1997 ................................................................................................................................................. 13 YEAR 5 – 1998 ................................................................................................................................................. 16 YEAR 6 – 1999 ................................................................................................................................................. 20 YEAR 7 – 2000 ................................................................................................................................................. 25 YEAR 8 – 2001 ................................................................................................................................................ -
November 24, 2010 Hon. Tony Clement, Minister of Industry Hon
November 24, 2010 Hon. Tony Clement, Minister of Industry Hon. James Moore, Minister of Canadian Heritage House of Commons Parliament Buildings Ottawa, Ontario K1A 0A6 Dear Ministers Clement and Moore, Thank you for your efforts to date in modernizing Canada’s copyright law. As you know, that legislation has a tremendous impact on us, Canada’s songwriters and recording artists, and on our ability to earn a living from the music we create. We are pleased with some aspects of the proposed new copyright legislation, Bill C-32, such as how it would legalize the everyday activity of copying music to MP3 players like the iPod. We want Canadians to be able to enjoy our music wherever they go. However, it is very disappointing and unfair that the proposed legislation does not include compensation for creators when copies are made of their music onto MP3 players. Thirteen years ago, in recognition of the fact that copies of music have value, Canada’s private copying levy was established to provide compensation to artists when their music was copied to cassette tapes, blank CDs and other types of blank media commonly used for that purpose. Over the years, more than $180 million has been paid out to the rights holders who created the music that was copied: songwriters, recording artists, music publishers and record labels. The revenue from the current levy is drying up at an alarming rate, dropping 60% from 2008 to 2010, and yet the number of private copies made of our work is not decreasing. Soon artists will receive no compensation for the millions of copies made of our work. -
Curating Canadianness: Public Service Broadcasting, Fusion Programming, and Hierarchies of Difference
CURATING CANADIANNESS: PUBLIC SERVICE BROADCASTING, FUSION PROGRAMMING, AND HIERARCHIES OF DIFFERENCE by © Rebecca Draisey-Collishaw A dissertation submitted to the School of Graduate Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Ethnomusicology Memorial University of Newfoundland October 2017 St. John’s, Newfoundland and Labrador ABSTRACT “Fusion programming” is an approach to music broadcasting that was employed by the Canadian Broadcasting Corporation (CBC) during the early years of the twenty-first century. It’s understandable as a response to systemic and systematic pressure to be “more multicultural.” It was about the artistry of musicians and entertainment of audiences, but fusion programming also served a didactic purpose for producers and listeners, participating in the production, elaboration, reinforcement, and/or deconstruction of existing cultural systems. Producing fusion programming involved bringing a minimum of two musicians/musical groups from different genres, languages, styles, scenes, and cultures into the same CBC-sponsored venue for the expressed purpose of performing together and discussing the challenges of collaboration. Performances, in many cases, were posited as “multicultural,” “cross cultural,” or “a collision of cultures,” and conversations framing the music often referenced diversity, multiculturalism, and difference, effectively mapping musicians’ positionality within Canadian society and geography. This study uses “ethnographically grounded” content analysis