Canadian Musician

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Does CanCon Still Make Sense?

Sunday, June 5th, 2016



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.


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

Saturday, June 4th, 2016

Urban XX banner image

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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