Broadcasting Decision CRTC 2010-647
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Score: a Hockey Musical
Mongrel Media Presents Score: A Hockey Musical A Film by Michael McGowan (92min., Canada, 2010) Distribution Publicity Bonne Smith 1028 Queen Street West Star PR Toronto, Ontario, Canada, M6J 1H6 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Fax: 416-488-8438 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html 1 OVERVIEW Music icon Olivia Newton-John (whose career has spanned over four decades, from Grease in 1978 to TV’s Glee in 2010) stars in Michael McGowan’s Score: A Hockey Musical, a film that combines musical numbers with Canada’s national sport. The film – which tells the story of a teenage hockey phenom who goes from obscurity to overnight fame – also stars a slew of Canadian talent. Among those are singer/songwriter Marc Jordan (whose composing credits include Rod Stewart’s “Rhythm of My Heart” and Cher’s “Taxi Taxi”), newcomers Noah Reid and Allie MacDonald, along with cameos by music artists Nelly Furtado, Dave Bidini, Hawksley Workman and John McDermott, journalists George Stroumboulopoulos and Evan Solomon, sports anchor Steve Kouleas, hockey dad Walter Gretzky and hockey star Theo Fleury. Unlike other musicals, the story doesn’t stop just for the sake of a song. Instead, the lyrics (written by McGowan) drive the plot. There are 20 original songs, among them one called “Darryl vs. the Kid” by Barenaked Ladies, as well as “Hugs” by Olivia Newton-John, Amy Sky and Marc Jordan, and five songs on which Hawksley Workman contributed. -
ANNUAL INFORMATION FORM Fiscal Year Ended August 31, 2015 Corus
ANNUAL INFORMATION FORM Fiscal year ended August 31, 2015 Corus Entertainment Inc. November 9, 2015 ANNUAL INFORMATION FORM ‐ CORUS ENTERTAINMENT INC. Table of Contents FORWARD‐LOOKING STATEMENTS ........................................................................................................ 3 INCORPORATION OF CORUS .................................................................................................................. 4 Organization and Name ............................................................................................................................ 4 Subsidiaries ............................................................................................................................................... 5 GENERAL DEVELOPMENT OF THE BUSINESS ........................................................................................... 5 Significant Acquisitions and Divestitures ................................................................................................. 5 DESCRIPTION OF THE BUSINESS ............................................................................................................. 6 Strategic Priorities .................................................................................................................................... 6 Radio ......................................................................................................................................................... 7 Description of the Industry ............................................................................................................... -
George Stroumboulopoulos Is a Loner Who Loves Attention, an Anti-Authoritarian Mama's Boy and a Motorcycle-Riding H
By Olivia Stren PHOTOGRAPHY BY FINN O’HARA REBEL REBEL George Stroumboulopoulos is a loner who loves attention, an anti-authoritarian mama’s boy and a motorcycle-riding hedonist who doesn’t drink, smoke or sleep. His job? Save the CBC january 2007 | torontolife.com | ToronTo Life 65 banter about TomKat. Stroumboulopoulos has It’s beautiful.” been cast as the poster boy for a new and aggres- Stroumboulopoulos’s stamina and sively with-it CBC: billboards of the black-clad self-reliance comes from his mother. ex-VJ panel every corner of town. But his talent for Mary Ivanyshan is a petite Ukrainian television lies precisely in his anti-Corp personal- woman with a voice soft as a hankie ity. What he won’t do (he won’t change his wardrobe; and a gentle expression that she passed he won’t play the starchy anchor; he won’t take out on to her son. His father, Mark, a Greek his earrings) is winning him a meteoric career and a from Cairo, worked at a Ford factory in healthy fan base. The Hour now occupies the plum, Oakville. George’s parents were married post-Mansbridge time slot, aiming to compete with the when they were 19, and he was born in biggies: Letterman, Leno, Jon Stewart and CSI. Toronto in 1972. Before George was six, Stroumboulopoulos is the quintessential Torontonian: his family moved about five times in and he is what he does, and he strives, fanatically, for that around the Jane and Wilson area. One conflation. And though thoroughly at ease in front of morning, while seven-year-old George the camera, he seems to long less for the spotlight than was eating a bowl of cereal, he saw his what the spotlight affords: the romance of a ragged, dad, dressed in a suit, walk out the door. -
Canadian Association of Broadcasters
January 11, 2019 The Broadcasting and Telecommunications Legislative Review Panel c/o Innovation, Science and Economic Development Canada 235 Queen Street, 1st Floor Ottawa, Ontario K1A 0H5 [email protected] Dear Review Panel Members: Re: Call for Comments on the Questions set out in the Broadcasting and Telecommunications Legislative Review Panel Terms of Reference The Canadian Association of Broadcasters CEO Radio Council (CAB Radio Council or Council) is pleased to provide the enclosed written submission in response to the Review Panel’s Call for Comments on Canada’s Communications Legislative Framework. The CAB Radio Council is a special committee of the CAB whose primary purpose is to advocate on behalf of the private commercial radio industry on matters of national interest which affect radio’s competitiveness and ability to serve Canadians. The council is comprised of representatives from more than 500 AM and FM radio stations across Canada which comprise in aggregate over 95% of total radio industry revenues. The attached submission represents the consensus view of the CAB Radio Council in respect of legislative and policy matters raised by the questions relating to the Broadcasting Act and relevant to radio. We trust that our comments are of value to the Panel and would be pleased to provide any additional input should it be requested. As the CRTC is an important stakeholder in this process and our submission raises radio policy issues not dependent on legislative review, we are also providing a copy of our submission to the Secretary General. Yours truly, Ian Lurie Chair, CAB CEO Radio Council cc. -
Our Stories, Our Voice Campaign
Our Stories, Our Voice Campaign to create and share educational and entertaining Canadian content to a bi-national audience Canadians have important stories to tell about our own remarkable history, our first class cultural institutions, and who we are as a people. But who will support this storytelling, and how should it be disseminated? Bringing Canadian narratives to a broader audience is of utmost importance. A creative strategy is required to develop, inform, and promote what is distinctly Canadian not only to Canada but beyond geographic borders. The potential exists for CCPTA to promote richer, more meaningful content about the Canadian experience, as well as use its history of collaboration with Buffalo Toronto Public Media to distribute that content through affiliated NPR and PBS stations. Funding is needed to support the necessary research, development, and production costs that will make this content a reality. 1 You can help to give Canadians a voice! By creating and delivering uniquely Canadian content, we can more effectively educate the world about what it means to be Canadian. Through compelling partnerships with organizations such as Buffalo Toronto Public Media, CCPTA has valuable access to PBS, NPR and other educational television and radio outlets. Why partner with PBS and NPR affiliates to disseminate Canadian stories beyond our borders? 2 The Our Stories, Our Voice Campaign The Central Canadian Public Television Association (CCPTA), has launched the Our Stories, Our Voice $5 million dollar endowment campaign that will strengthen our educational objectives and expand our gateway for Canadian content producers. The annual income disbursed from the endowment will support the research and development of Canadian focused television productions as well as fund writers and producers to assist in bringing that content to a broad audience. -
Canadian Content in the Media C
9.1.5 Canadian Content in the Media c A cartoon that appeared in 1998 in the Regina Leader-Post during the free trade debate showed a sloppy, middle-aged Canadian wearing a Miami Vice T-shirt, walking down a street adorned with McDonald’s arches, Coke machines, GM and Ford dealerships, and a movie billboard advertising Rambo XI. “What’s really scary,” he says to his wife, “is that we Canadians could lose control of our culture.” From The Mass Media in Canada by Mary Vipond. Canadian content rules considered insufficient by Graham Fraser, Toronto Star, August 29, 2002 <www.friends.ca/News/Friends_News/archives/articles08290205.asp> A recent survey found Canadians are confident the country's culture and identity are stronger now than they were five years ago in terms of distinctiveness from the United States. However, they worry about the ability to control domestic affairs from U.S. pressure in the future. A strong majority believes in Canadian content requirements and do not consider them vigorous enough. They say the Canadian Broadcasting Corporation is important for maintaining and building culture and identity. This support for Canadian culture and the CBC emerged in a poll by Ipsos-Reid for Friends of Canadian Broadcasting that was conducted between Aug. 6 and 11, 2002. The poll questioned 1,100 Canadians, and it can be considered accurate within plus or minus 3 percent, 19 times out of 20, Chris Martyn of Ipsos-Reid said. When questioned about agreement with the statement "I am proud of Canadian culture and identity," 94 percent said they agreed, while 92 percent said Canadian culture and identity should be promoted more, and 89 percent agreed it was important that the Canadian government work to maintain and build a culture and identity distinct from the U.S. -
Canadian Content Regulations and the Canadian Charter of Rights and Freedoms
CANADIAN JOURNAL OF COMMUNICATION, 1986, 11 (I),41 - 53. CANADIAN CONTENT REGULATIONS AND THE CANADIAN CHARTER OF RIGHTS AND FREEDOMS Brenda M. McPhail The University of Calgary This article examines the Canadian content regulations for television in the context of s. 2(b) of the Charter of Riahts and Freedoms. It araues that on the basis of s. 1, these regulations may be demonstrably justified. Cet article examine les reglements concernent le contenu canadien de la thlevision canadienne dans le contexte de la s. 2(b) de la Charte Canadienne des Droits et LibertBs. I1 demontre que les rhglements sont justifiable B la lumihre de la s. 1. On 17 April 1982 Queen Elizabeth I1 proclaimed the Constitution Act 1982 the supreme law of Canada. Its coming into force was heralded by many as the long-awaited and dramatic severance of the colonial mbi lical cord with Britain. Others, however, were more circumspect, for included in the act was the Canadian Charter of Rights and Free- doms. This novel element in Canada's constitution led to much specu- lation about its effects on Canadian jurisprudence and on the nation as a whole. This article investigates the possible implications of the Charter in one significant sphere of government regulatian . More specifically: do the Canadian television content regulations, as prescribed by the Canadian Radio-television and telecommunications Commission under the authority granted it by the Parliament of Canada in the Broadcasting Act 1968, violate s.2(b) of the Charter, the guarantee of freedom of thought, belief, opinion and expression, includ- ing freedom of the press and other media of comnunication? Second, if they do, can these regulations be justified by invok ing s The Canadian Charter of Rights and Freedoms guarantees the rights and freedoms set out in it subject to only such reasonable limits prescribed by law as can be demonstrably justified in a free and democratic society. -
Content Everywhere (2): Securing Canada’S Place in the Digital Future
Content Everywhere (2): Securing Canada’s Place in the Digital Future White Paper by Duopoly February, 2015 1 1 Table of Contents – Content Everywhere 2 1. Content Everywhere 2: Securing Canada’s Place in the Digital Future Introduction: a. Scope of the White Paper b. 'Videofication' of the Internet Takes Hold c. The Great Unbundling d. Canada Follows Suit e. What’s Different? Note: This paper has been prepared with the input of many entertainment and 2. What are the Major Trends? media industry leaders, listed in Appendix B. The authors thank these a. The US Leads the Way individuals for their contribution to this study. b. OTTs Surging Buying Power c. More Players Jump Into the Digital-First Game Funding for this study was provided by Ontario Media Development d. Smaller Players Pioneer Original Content Corporation, the Canada Media Fund and the Independent Production e. Old Media Races to Catch Up Fund. Any opinions, findings, conclusions or recommendations expressed in this material are those of the author and do not necessarily reflect the 3. Preliminary Findings From Industry Reviews views of Ontario Media Development Corporation, Canada Media Fund, the Government of Ontario or the Government of Canada, or the Independent 4. Case Studies Production Fund. The funders, the Governments of Ontario and Canada and a. Canada: Annedroids; Out With Dad; Bite on Mondo; CBC ComedyCoup; their agencies are in no way bound by the recommendations contained in b. US: East Los High; Frankenstein MD; Marco Polo this document. c. UK: Ripper Street; Portal; The Crown Version disponible en français dans trends.cmf-fmc.ca/fr 5. -
Protecting Canadian Culture and Identity F
6.4.1 Protecting Canadian Culture and Identity f The Canadian Radio-television and Telecommunications Commission (CRTC) was established by Parliament in 1968. It is an independent body that reports to Parliament and is responsible for all radio and television broadcasting in Canada. One of its main goals is to make sure that Canadian artists and stories reach the Canadian public. Parliament believes that it is important that the broadcasting system in Canada gives voice to the talents and shared experiences of Canadians in order to preserve our culture and identity. Making sure there is Canadian content on the airwaves also means jobs for thousands of Canadians. The CRTC enforces the following rules about Canadian content in broadcasting: Radio - All radio stations must ensure that 35 percent of the music they air each week is Canadian. In addition: - Commercial radio stations must ensure that 35 percent of the music they air between 6 a.m. and 6 p.m., Monday through Friday, is Canadian. - Ethnic radio stations must ensure that at least 7 percent of the music they air each week during ethnic programming periods is Canadian. (page 1 of 2) 6.4.1 Protecting Canadian Culture and Identity f - French-language radio stations must ensure that at least 65 percent of the music they broadcast each week is in the French language. As well, at least 55 percent of the music aired between 6 a.m. and 6 p.m., Monday through Friday, must be in the French language. Television Private television stations and networks (e.g., CTV, Global) and ethnic TV stations must achieve a yearly Canadian content level of: o 60 percent overall, measured during the day (i.e., between 6 a.m. -
The Public/Private Tension in Broadcasting the Canadian Experience with Convergence
The Public/Private Tension in Broadcasting The Canadian Experience with Convergence John D. Jackson & Mary Vipond Canada’s Broadcasting Act designates Canadian broadcasters, public and private alike, as a single system to which the Act and all subsequent regula- tions apply. The Act is based on the premise that the airwaves are public property, but allows for the existence of a private sector within the whole (Canada, 1991). Thus does it signal: (1) the tension between the public good and private gain; (2) the fact of a particular relation between private and public broadcasting in Canada; and (3) the possibility that the relationship may simultaneously address issues of national sovereignty and benefit capi- tal accumulation. These themes will be placed in the context of Canada’s economic culture and the current process of corporate convergence. Though convergence is presently taking place on several fronts – across media plat- forms, within media platforms, and across distribution technologies – we concentrate on the first of these and on the implications for the public remit. The convergence of broadcasting, production, distribution and print raise two important issues. First there is a very real anxiety over the possibility that cross-media convergence will reduce the variety of voices expected from an open broadcasting system (public and private alike). Secondly, there is concern that national and regional public broadcasting units may, in the end, carry the principal responsibility for ensuring a multiplicity of voices. Indeed, and somewhat ironically, national public broadcasting may well be the sole defence against monopoly. Convergence within specific media platforms, across media platforms, and across modes of delivery has reduced the sheer number of independent and competitive players in the market. -
First Quarter 2008 Report to Shareholders
First Quarter 2008 Report to Shareholders For the Three Months Ended November 30, 2007 (Unaudited) CORUS ENTERTAINMENT INC. First Quarter Report to Shareholders TABLE OF CONTENTS HIGHLIGHTS ________________________________________________________________3 Significant Events in the Quarter______________________________________________3 Significant Events Subsequent to the Quarter__________________________________4 Management’s Discussion and Analysis_______________________________________4 Overview of Consolidated Results ____________________________________________5 Revenues ______________________________________________________________________________ 5 Direct cost of sales, general and administrative expenses ________________________________________ 6 Depreciation ___________________________________________________________________________ 6 Amortization ___________________________________________________________________________ 6 Interest expense_________________________________________________________________________ 6 Other expense, net_______________________________________________________________________ 6 Income taxes ___________________________________________________________________________ 6 Net income_____________________________________________________________________________ 6 Other comprehensive income (loss), net of tax _________________________________________________ 7 Radio _______________________________________________________________________8 Television ___________________________________________________________________9 -
Kirty Releases Poignant New Single “God Help Us” Listen / Watch
Media Release Kirty Releases Poignant New Single “God Help Us” Listen / Watch Listen to the Canadian radio premiere via The Strombo Show on CBC Music HERE Download single artwork HERE “With its gently swirling pop, dreamy sonics and nostalgic vibe, Kirty’s self-titled sophomore disc makes a fine soundtrack for everything from a walk in the park to an evening under the stars — and fits right in on a playlist with the likes of Jenny Lewis, Lana Del Rey and Neko Case.” - National Post “Breezy and bittersweet, Kirty’s effervescent ditties dwell in an easy-on-the-ears sweet spot between folk and straight-up pop... equally easy on the ears is Kirty’s winsome voice, an endearingly imprecise instrument that’s tailor-made for windows-down singalongs but also sounds appropriately worn on the sad-girl downtempo numbers.” – Toronto Star (March 8, 2021) – Toronto-based songwriter/multi-instrumentalist and long-time Fast Romantics member Kirty releases the poignant, grungy, distortion-rich single, “God Help Us” and unveils its fiery and poetic accompanying video. Co-produced with long-time collaborator Josh Van Tassel and Fast Romantics bandmate/songwriting partner Matthew Angus, “God Help Us” had its Canadian radio premiere yesterday evening via The Strombo Show on CBC Radio. The melancholic track will appear on Kirty’s forthcoming solo album set for a release in summer 2021. Click HERE to listen and purchase. With devastatingly heart-breaking lyrics like, “Broken minds screaming lies out of their hideout, dressed in fear they reappear and we’re all crying our eyes out, “God Help Us” was inspired by a number of tragic incidents the songwriter observed on the news one evening.