Canadian Musician

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Money For Your Muse: Canadian Music Funding & Associated Legal Issues

Thursday, June 9th, 2016

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This article originally appeared in the May/June 2016 issue of Canadian Musician

Canadian recording artists and recording companies have access to the greatest support funding in the world. Some of the funding is from the various levels of government while other sources (more…)

Does CanCon Still Make Sense?

Sunday, June 5th, 2016

 

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By Michael Raine

This article originally appeared in the March/April 2016 issue of Canadian Musician

Canadian content regulations worked. It’s just an accepted fact, even by many of its critics. CanCon succeeded in creating a music industry and infrastructure where none existed on Jan. 18, 1971, the day Pierre Elliot Trudeau’s government made it law to play Canadian music on the radio. To the extent that Canada now regularly produces nationally and internationally successful artists who are signed to Canadian record labels, record in Canadian studios, and work with Canadian managers, agents, promotors, publicists, and others while selling out Canadian venues and festivals, there is common consensus that CanCon has succeeded well beyond most expectations. But 45 years later, we have a Trudeau as prime minister and, with the exception of a few tweaks, the same CanCon system. The more things change, the more they stay the same, as the cliché goes.

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Urban XX: Finding Opportunities for Female Artists in an Underrepresented Scene

Saturday, June 4th, 2016

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This article originally appeared in the July/August 2015 issue of Canadian Musician

By Justin Reid

Not since the late ‘90s, when five “spicy” exports from Britain championed the phrase, has the term “Girl Power” meant more than it does right now in mainstream music.

Artists such as Taylor Swift, Ariana Grande, and Beyoncé rule over the pop world with an iron fist while traditionally male-dominated genres like hip-hop have seen artists including Nicki Minaj and Australia’s Iggy Azalea explode in popularity, often selling disproportionately more records and singles than their male peers.

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When Do You Need A Publicist?

Friday, May 6th, 2016

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By Michael Raine

This article originally appeared in the November/December 2015 issue of Canadian Musician

From the megastar on the cover of Rolling Stone to the up-and-comer interviewed for a popular blog, there may be a lot more to those media spots than you realize. There is likely a media strategy laid out months in advance and carried out by a publicist working their web of contacts. Sure, some artists do it successfully themselves, and others ride a wave of grassroots buzz, but they’re the anomaly. Generally speaking, if an artist has ambitions of being known beyond their city or region, at some point, they’ll hire a publicist. But at what point?

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Will It Get Easier to Tour the U.S.?

Friday, May 6th, 2016

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By Michael Raine

This article originally appeared in the January/February 2016 issue of Canadian Musician. UPDATE: In March 2016 three American congressmen have introduced legislation designed to streamline the P-2 visa process for Canadian artists entering the U.S. to perform. The Bringing Entertainment Artists to the States (BEATS) Act was introduced in Congress on March 21st by Representatives Dave Trott (R-Michigan), Chris Collins (D-NY), and Peter Welch (D-Vermont).

Back in 2014, the Canadian Government eliminated both the Labor Market Opinion fees and visa requirements for foreign musicians and their crews, thus making it much easier and more affordable for American artists to tour Canada. The same courtesy has not been extended to Canadian artists touring the United States. Currently, getting visas for a tour of any size can be very time and cost prohibitive.

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