Global Reach. Innovative Programs. Diverse Perspectives. A newsletter dedicated to the alumni and students of the Schulich School of Business MBA in Arts, ARTS, MEDIA & Media and Entertainment Management Spring 2017 ENTERTAINMENT Volume 21, Issue 1 Newsletter Design Rebecca Langstaff (’00) Born and raised in Philadelphia, Joe Remembering received his BA in Theatre from Temple Advisory Board University in 1956 and his PhD in Dramatic the Incomparable Theory and Rhetoric from Indiana Tricia Baldwin University in 1964. Joe taught at the Director, Isabel Bader Centre University of Louisville, Indiana University for the Performing Arts Joe Green South Bend, and Hunter College, before Louise Dennys By Joyce Zemans coming to York University in 1968 as Executive Publisher, The Assistant Dean of the Faculty of Fine Arts Knopf Random Canada Joe Green, and the founding Chair of the Department Publishing Group, Executive founder and of Theatre. The following year, he directed Vice President, Random director of the theatre department’s first production: a House of Canada Ltd. Schulich’s double bill of Tennessee Williams’ one-act Claire Hopkinson MBA Program plays 27 Wagons Full of Cotton and This Director and CEO, in Arts, Media Property is Condemned featuring student Toronto Arts Council and and actor Michael Burgess (who went on to Toronto Arts Foundation Entertainment immortalize the role of Jean Valjean in the Les Misérables Paul Lewis Management, Toronto production of ). President, died on Great Pacific Media February 3, As assistant dean (1968-71), associate 2017 at dean (1971-73) and later dean of the Laura Michalchyshyn Toronto’s Faculty of Fine Arts (1973-80), Joe was Partner/Producer, Kensington involved in the establishment and the Sundance Productions Hospice. growth of the departments of Visual Art, David Mirvish Dance, Film, Music and Theatre, as well as Mirvish Productions Joe Green was my mentor, role model and the York Winds Ensemble and the York friend. He hired me to teach at York and Theatre Review. Joe brought onto the Tracey Pearce preceded me in two of the roles that I later Faculty such Canadian icons as Mavor President, Distribution & Pay assumed at York—as Dean of Fine Arts Moore (“Mr. Theatre”), and established the Bell Media and later as Director of the MBA Program York Performance Artists Series at Burton Andrew Shaw in Arts and Media Administration. Auditorium, showcasing such artists as Former President and CEO, Lawrence Ferlinghetti, Alan Ginsberg, Tom Toronto Symphony Orchestra Joe’s role in shaping what is now York’s Wolfe and Henry Moore. He was also School of Arts, Media, Performance & instrumental in the development of the Design (AMPD) and the MBA Program in initial proposals for the York Master of Fine Director Arts, Media and Entertainment Arts degrees. Joyce Zemans, C.M. Management was foundational and Joe Program Coordinator remained a leader and guide for me and “Joe was a transformational figure at York Kathleen Welsby countless others throughout his time at and in the Toronto arts scene,” said Shawn York and beyond. Brixey, dean of the School of Arts, Media, 416-736-5217 Performance & Design. “His radiant Schulich School of Business Known for his booming voice, huge heart energy, artistic curiosity, sense of humour, Rm. N319, York University and eternal generosity, Joe had a long and razor-sharp wit, and intellectual depth 4700 Keele Street illustrious career in theatre and was a helped lay the foundation for what has Toronto, Ontario M3J 1P3 proud and ardent supporter of the arts. It become a thriving culture of creativity and has been said that his life’s work was a artistic innovation at York. He will be deeply www.artm.schulich.yorku.ca grand and passionate play, with his missed and eternally remembered.” students as rising stars in Canadian theatre cast in central roles. (continued next page) on CBC, Thames Television in the UK, and Masterpiece Theatre on PBS in the U.S. The series won a record-setting nine Gemini awards. As a principal of Fundamentally Film Inc., Joe co- produced Syncopation for Mirvish Productions at Toronto’s Winter Garden Theatre in 2002. A proud Canadian, Joe in later years served as chair of Democrats Abroad (Canada). As chair for international voter registration, Joe worked to bring in the democratic vote of Americans across the globe. Though focussing post-retirement on producing, politics and family Joe with his wife Rhoda. life, Joe remained a wise advisor to the MBA Program in Arts and In 1968, Joe, as assistant dean of When he took early retirement in Media Administration and a the Faculty of Fine Arts, became a 1994, Joe held the rank of full mentor to many. The number of member of the working committee professor in the faculties of Fine former students, now friends, who that would recommend the Arts (Theatre), Arts (Humanities) visited Joe during his last illness, establishment of the York MBA and Administrative Studies (Policy is testimony to the impact that he Program in Arts Administration, and Strategy). In recognition of his had on generations of students one of the first programs of its type outstanding contributions as a and colleagues. in the world. (Three of the teacher, administrator, cultural committee members, Joe, Brian consultant and advocate, he was Joe’s last legacy was the CBC Dixon, and Paul Schafer, would named University Professor by interview: Joe Green Speaks of later become directors of that MBA York University in 1993. York’s Life, Death and Love (www.cbc.ca/ Program.) Joe served as director Joseph G. Green Studio Theatre news/canada/toronto/toronto- of the program from 1982-1994 in the Centre for Film and Theatre hospice-1.3904353). Joe inspired and, in 1985, under Joe’s is named in his honour. many people with the grace, leadership, the program’s scope acceptance and openness he was broadened to include both the In addition to his academic career, displayed while facing life’s final arts and the cultural industries and Green is also remembered for his stages. True to form, Joe renamed the MBA Program in Arts work as a director and producer surprised us all, living far beyond and Media Administration. for the stage and screen. With the time his physician had Gemstone Productions, he predicted, in comfort at the Joe served as chair of the Board produced the Canadian tour and Kensington Hospice surrounded of Directors of CulTech Toronto run of The Dining Room, a by family and friends. Collaborative Research Centre. 1986 revival of The Sunshine He was a consultant in the Boys and Ken Ludwig’s Sullivan Joe’s larger than life presence will development of the Gardiner and Gilbert, a co-production with remain with us and his spirit will Museum of Ceramic Art and the National Arts Centre in Ottawa continue to inspire us. His legacy is consulted for the Canada Council, and the Kennedy Centre in honoured in the ARTM Joe Green the Ontario Arts Council, the New Washington, D.C. Committed to Founder’s Award in the program York State Council on the Arts, the the telling of Canadian stories, he whose mission and mandate he American Theatre Association and developed the award-winning was instrumental in establishing. the National Association of television mini-series with Gordon Schools of Theatre. He was also Hinch, Glory Enough For All, the an active board member and story of Banting and Best and their advocate for the Canadian Senior isolation of insulin at the University Thanks to Rhoda Green and Yorkfile yfile.news.yorku.ca/2017/02/07/passings- Artists’ Resource Network. of Toronto. The series was seen remembering-the-incomparable-joe-green/ Despite Challenges, the Future Looks Bright: Music Publishing in Canada By Margaret McGuffin, MBA ’91 question of what a music publisher These companies reported actually does: receiving over $199M in music www.musicpublisher.ca/music- publishing revenues in the last publishing-animated-video reported year. Typically when a publisher enters Performing rights constitute the into a publishing agreement with a majority of the revenues for our songwriter, the songwriter assigns members (56 per cent); ownership and control of the mechanical rights (reproduction copyright protected musical works rights) come second with 22 per to the publisher in exchange for a cent of music publishing revenues, percentage of the income derived followed by synchronization from the use of the musical works. licensing fees (16 per cent). In other cases, a publishing administration agreement provides Export has clearly been a driver of the songwriter the ability to retain the overall growth in the industry; ownership of copyright while the the study shows that 73 per cent publisher administers those rights of those revenues are from foreign In the year since I took on the role in exchange for a negotiated fee. sources. This represents a of executive director of the In each case, the publisher’s role complete reversal of the ratio of Canadian Music Publishers is to maximize the revenue domestic to foreign sources found Association (CMPA), there is one generated, by pursuing in a 2005 study of the industry by question that I am most frequently opportunities for the works to be Paul Audley and Associates, in asked: What is a music publisher? recorded and performed and by which 28 per cent of revenue was ensuring that those who benefit from foreign sources. While some musicians record their from those works account and pay own songs, there are many who for their use. Export is a key priority for CMPA. do not. Instead they either co-write Our work includes navigating and their tracks with songwriters or Founded in 1949, CMPA is the creating business opportunities for perform songs written by other oldest music industry association our members and increasing their songwriters.