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After the Goldrush: the History of Popular Music Fund- Ing in Canada

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After the Goldrush: the History of Popular Music Fund- Ing in Canada ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output After the goldrush: the history of popular music fund- ing in Canada https://eprints.bbk.ac.uk/id/eprint/40106/ Version: Full Version Citation: Shapiro, Shain (2014) After the goldrush: the history of popu- lar music funding in Canada. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email After the Goldrush: The History of Popular Music Funding in Canada Graduate Program in Cultural Studies. London Consortium, Birkbeck College, University of London, London, UK December 2014 A thesis submitted to the London Consortium, Birkbeck College, University of London in partial fulfilment of the requirements of the degree of Doctor of Cultural Studies Shain Shapiro I declare this this work is entirely my own, subject to the rules and regulations of the London Consortium, Birkbeck College, University of London. Signed, Shain Shapiro 1 December 2014 London, UK 1 Abstract This dissertation is a cultural and historical analysis of the history of popular music funding in Canada, from 1949 to 2013. Canada has an extensive public subsidy system for popular music, deriving from the implementation of content quotas for publicly licensed airwaves and the need to supply these airwaves with appropriate content. This thesis evaluates and analyses the history that engendered these policies to reveal their impact on the concept of Canadian identity as a whole, and the impact of Canadian identity formation on the popular music industries. Through six decades of policy interventionism, Canada’s popular music structure has grown into a set of structures within structures, combining direct federal subsidies, regionally specific support and private initiatives mandated by public policy. However, in this history, never has the total system been conceptually audited as a whole, nor has its underlying cultural and economic impact been analysed. Some see this support as a lifeline while others a tax, resulting in a set of structures framed on policy to simultaneously develop national cultural unity and economic prosperity. These policies have shifted from supporting Canadian cultural policy to more business driven, economic objectives, despite being mandated, legislated and ultimately beholden to Canadian cultural polices, nationalism and protectionism. By dissecting the history, this thesis aims to unravel an extensive and unique case study between the popular music industries and government as a whole. 2 Acknowledgments In September 2008, I emailed the President of CIRPA at the time, Duncan McKie, asking if he was interested in having a volunteer join him at the PopKomm conference that year and manning the ‘Canada Stand’. He accepted and little did I know that trip would mark the beginning of this journey. Since then, I became the UK and EU representative of CIMA (nee CIRPA), a role I still hold now. For this, I want to thank Duncan McKie and Donna Murphy for welcoming me in as family at CIMA, and thank you to Stuart Johnston, Kathy Hahn, Trisha Carter and everyone else at CIMA for the continued support throughout this process. Secondly, I want to thank my critical, unwavering and fantastic supervisors, Dr Richard Osborne and Dave Laing for their support from day one for this project and letting me write about my passion. I am deeply indebted to both of them, especially Richard, my main supervisor, business advisor and part-time employer. In addition, thank you to Dr Steven Connor, Dr Ben Cranfield and all the lecturers at the London Consortium, for challenging me throughout this project and letting me work full time and build my company as I explored this topic. As this dissertation was mainly written through personal interviews and online research, I have a number of people to thank for talking to me, answering emails and showing their support for wanting to have this story told. For this and all your support, thank you (in no particular order) to Duff Roman, Earl Rosen, Al Mair, Marla Waltman Dashko, Chip Sutherland, Remi Harris, Vanessa Reed, Chris Bye, Stuart Thomas, Olaf Furniss, Will Page, Catherine Saxberg, Ben Rayner, Michael Sanders, Naomi White, Sheila Copps, Richard Sutherland, Line Grenier, Will Straw, Sophie Couture, Phil Gumbley, Alison Outhit, Brent Bain, Millie Millgate, Matt Newby, Ro Cemm, Josh McNorton, Stephen Hignell, Keith Harris, Kevin MacDougall, Pierre Lalonde and anyone else who took the time to talk to me, listen to my questions or read a draft. In addition, I have to thank all the artists and managers that supported this project, knowing I have their interests at heart. Thank you to Dan Mangan, Jenn Grant, Jon Janes, Mike Petkau Falk, Brian Hetherman, Duane Gibson, Larry Wanagas, Greg Ipp, Edo van Breeman, Jonas Bonnetta, Larry Wanagas, Eric Warner and numerous others. Furthermore, I would like to thank my business advisors and staff at Sound Diplomacy, the company I founded in 2013 whilst researching and writing this 3 dissertation. Thank you to my business partners Jordi Puy, Katja Hermes and Danny Keir for your patience and support, and to Sian Evans, Vasilis Panagiotopoulos, Azu Mico and Anton Teichmann. In addition, thank you to Scott Cohen, Alan Davey, Derek Linfield, Rob Hain, Adam Bandeen, Martin Elbourne, Benji Rogers, Nigel Hart, Damon Forbes, Frank Gelardin and Shane Bourbonnais for your timely advice, each and every time I asked (which was a lot). I would also like to thank my family for their support in this process. Especially, I want to thank my partner in life, Alice. Thank you for putting up with this for the last four plus years. Your support is what helped me persist with completing this paper. There are no words for how thankful and lucky I am. Lastly, one person unable to see me finish this process is my sister Alli. She passed away in 2006. However, many years ago when I was less than concerned with academics, she convinced me that there was much to love in understanding music and all that it impacts. This dissertation is dedicated to her. Finally, I want to thank the UK Border Agency. Without them losing my visa application, I would never have thought of pursuing a PhD. 4 Table of Contents Declaration...................................................................................................1 Abstract.......................................................................................................2 Acknowledgements.......................................................................................3 Table of Contents.........................................................................................5 Acronyms Legend………………………………………………………………………………………7 Introduction – ………………………………………………………………...........................11 Chapter 1 – 1960s / 1970s: Forming and Framing Canadian Content Regulations...........................37 Chapter 2 – 1980s: The Introduction and Development of FACTOR...................................63 Chapter 3 – 1990s: The Years of Plenty..........................................................................96 Chapter 4 – 2000s: The Current State of Popular Music Funding…………………………….......122 Chapter 5 – A Country within a Country: A Case Study on Quebec................183 Chapter 6 – Current Affairs: The Problems with Ownership and Media Convergence.....................213 Conclusion -……………………………………………….............................................238 Appendices – Reflexive Commentary, Process of Informed Consent, Organisational Map, Comprehensive Works Cited List...........................................................................................................252 5 6 Acronyms Legend ADISQ – Association Québécoise de l'industrie du disque, du spectacle et de la vidéo) BBG – Board of Broadcast Governors (ancestor of CRTC) BMA – British Music Abroad Program CAB – Canadian Association of Broadcasters CANCON – Canadian Content CAPAC – Composers, Authors and Publishers Association of Canada (now SOCAN) CBC – Canadian Broadcasting Corporation CCA – Canada Council for the Arts CCD – Canadian Content Development (see CTD) CCMIA – Canadian Council of Music Industry Organizations CFDC – Canadian Film Development Council CHUM – Canadian broadcaster. Owns MuchMusic. CI - Collective Initiatives, FACTOR CIMA – Canadian Independent Music Association (formerly CIRPA) CIRPA – Canadian Independent Record Production Association CMF – Canada Music Fund CMRO - Canadian Manufacturing Recording Organisation CMPA – Canadian Music Publishers Association CPCC – Canadian Private Copying Collective CRIA – Canadian Recording Industry Association (now called Music Canada) CRTC – Canadian Radio-Television and Telecommunications Commission CSRCO - Canadian Sound Recording Service Organization Contribution Program CTD – Canadian Talent Development (renamed to CCD in 2006) CTL – Canadian Talent Library, Standard Broadcasting (folded into FACTOR) DBA – Direct Board Approval Program, FACTOR 7 DCMS – Department for Culture, Media and Sport (UK) DOC – Department of Communications FACTOR – Foundation to Assist Canadian Talent on Record FACTOR/CTL – The official name of FACTOR between 1986-1987. FICC - Fonds d’investissement de la culture et des communications, Quebec. FIDEC - Financière des entreprises culturelles, Quebec. MAPL – Music, Artist, Place of Production, Lyrics – the scale for measuring
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