Did anyone catch Raine pissing and moaning about CanCon on the DVD?
For those who didn't know, Canadian radio stations (and music specialty stations) are required to play at least 35% Canadian Content.
What is Canadian content depends on how the song qualified under the MAPL system:
M (music) -- the music is composed entirely by a Canadian.
A (artist) -- the music is, or the lyrics are, performed principally by a Canadian.
P (production) -- the musical selection consists of a live performance that is
(i) recorded wholly in Canada, or
(ii) performed wholly in Canada and broadcast live in Canada.
L (lyrics) -- the lyrics are written entirely by a Canadian.
Raine has stated on a number of occasions that he resents this legislation and that it doesn't help new artists.
I say that's rich coming from the guy who pretty much owes his house, artistic development and everything else he bought with a music-related paycheque to the exposure CanCon gave him.
Its a pretty complicated topic actually, but I was wondering if anyone else had an opinion?
Raine's comments on Canadian Content legislation?
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deniedjunkie
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i dont think it helps new artists at all, all the stations do is keep playing olp and matt good over and over instead of playing new canadian content
www.unitedforpeace.org
"People like victory. They don t like justification. Once you are victorious, that s it. You don t have to justify."
R.I.P
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"People like victory. They don t like justification. Once you are victorious, that s it. You don t have to justify."
R.I.P
Domenic Mobilio(1969-2004)
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He-Who-Must-Not-Be-Named
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deniedjunkie wrote:i dont think it helps new artists at all, all the stations do is keep playing olp and matt good over and over instead of playing new canadian content
Which is exactky what Raine said. I personally don't live in Canada so I don't really know what to say on this subject.
But it sounds bad
Its a catch 22 type of situation.
On one hand, OLP has gotten so much support from radio, and part of that is due to Can-Con
But he makes a very valid point. If you turn on a radio station and look for Canadian Music it's almost a guarantee that you'll hear OLP, Matt Good, Nickelback or The Hip. That's how the radio stations are filling that 35% content. Yeah, occasionally you have a band like Default or Simple Plan (im still questioning how this happened) hit it big.
Look at it this way, since 1999 how many Canadian Acts have achieved the popularity and success of OLP/Matt Good/The Hip? Besides Nickelback, and Avril...... there aren't many. Maybe that's where Can-Con is a problem.
It's a tough question though for sure.
On one hand, OLP has gotten so much support from radio, and part of that is due to Can-Con
But he makes a very valid point. If you turn on a radio station and look for Canadian Music it's almost a guarantee that you'll hear OLP, Matt Good, Nickelback or The Hip. That's how the radio stations are filling that 35% content. Yeah, occasionally you have a band like Default or Simple Plan (im still questioning how this happened) hit it big.
Look at it this way, since 1999 how many Canadian Acts have achieved the popularity and success of OLP/Matt Good/The Hip? Besides Nickelback, and Avril...... there aren't many. Maybe that's where Can-Con is a problem.
It's a tough question though for sure.
It's definitely a problem. The only thing that can help the matter is increasing the percentage to maybe 50%. That forces the station to play an additional 2 canadian songs per hour. It may be tough for the radio stations since they receive money from advertisers who would probably rather they played Linkin Park over 4 kids from Winnipeg, but it's something that needs to be done.
I can't wait until the day schools are over-funded and the military is forced to hold bake sales to buy planes.
"It's a great thing when you realize you still have the ability to surprise yourself. Makes you wonder what else you can do that you've forgotten about"
"It's a great thing when you realize you still have the ability to surprise yourself. Makes you wonder what else you can do that you've forgotten about"
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Random Name
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I don't think upping the percentage will help at all.
If anything it will make the problem worse.
Its just going to force them to play more swollen members and nelly furtado. It'll just be the same thing over again.
If anything it will make the problem worse.
Its just going to force them to play more swollen members and nelly furtado. It'll just be the same thing over again.
-Sarah
Goodbye you liar,
Well you sipped from the cup but you don't own up to anything
Then you think you will inspire
Take apart your head
(and I wish I could inspire)
Take apart your demons, then you add it to the list.
Goodbye you liar,
Well you sipped from the cup but you don't own up to anything
Then you think you will inspire
Take apart your head
(and I wish I could inspire)
Take apart your demons, then you add it to the list.
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deniedjunkie
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and if radio stations try to promote newer bands , they get thier asses kicked in the ratings against the bigger stations that play the same crap over and over, and end up goin bankrupt
www.unitedforpeace.org
"People like victory. They don t like justification. Once you are victorious, that s it. You don t have to justify."
R.I.P
Domenic Mobilio(1969-2004)
"People like victory. They don t like justification. Once you are victorious, that s it. You don t have to justify."
R.I.P
Domenic Mobilio(1969-2004)
Random Name wrote:I don't think upping the percentage will help at all.
If anything it will make the problem worse.
Its just going to force them to play more swollen members and nelly furtado. It'll just be the same thing over again.
I don't think so. Rock stations (edge 102 in Toronto for example) will not play Nelly Furtado or Chantal Kreviazuk or any of those artists, so that eliminates that type of artist, and bands like swollen members maybe get limited airplay on these stations since they already get enough air on rap stations.
It's not like they're just going to play any new band. Most new bands in Canada get heard on university stations and then if they deserve it they'll gradually get play on major ones.
I can't wait until the day schools are over-funded and the military is forced to hold bake sales to buy planes.
"It's a great thing when you realize you still have the ability to surprise yourself. Makes you wonder what else you can do that you've forgotten about"
"It's a great thing when you realize you still have the ability to surprise yourself. Makes you wonder what else you can do that you've forgotten about"
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Tattooed Angels
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Re: Raine's comments on Canadian Content legislation?
egotist wrote:Did anyone catch Raine pissing and moaning about CanCon on the DVD?
For those who didn't know, Canadian radio stations (and music specialty stations) are required to play at least 35% Canadian Content.
What is Canadian content depends on how the song qualified under the MAPL system:
M (music) -- the music is composed entirely by a Canadian.
A (artist) -- the music is, or the lyrics are, performed principally by a Canadian.
P (production) -- the musical selection consists of a live performance that is
(i) recorded wholly in Canada, or
(ii) performed wholly in Canada and broadcast live in Canada.
L (lyrics) -- the lyrics are written entirely by a Canadian.
Raine has stated on a number of occasions that he resents this legislation and that it doesn't help new artists.
I say that's rich coming from the guy who pretty much owes his house, artistic development and everything else he bought with a music-related paycheque to the exposure CanCon gave him.
Its a pretty complicated topic actually, but I was wondering if anyone else had an opinion?
I saw the same interview. I think he was saying that because of CANCON-alot of newer artist can't get heard. Whether Canadian or not. He also said that bands like OLP, The Hip, SUm 41 and Nickleback are palyed ad nauseum. Meaning because of this they are played non-stop. Now you can argue that this is good for OLP cause the more exposure they get, the more they are paid. That may or maynot be true, but overexposure is damaging to one's career also.
Raine is not the only person I heard speak out about the flip side of this. I know people who work for Canadian radio and video who have said the same thing.
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Re: Raine's comments on Canadian Content legislation?
psycho groupie wrote:
Raine is not the only person I heard speak out about the flip side of this. I know people who work for Canadian radio and video who have said the same thing. [/color]
psht. i work for canadian radio. i really dont care, most of it sucks anyways, canadian or not.
you have to, you just have to trust me
whoever i was then i can't ever be again
the faith you've found i've never felt
the terror held in wedding bells
the comfort in "there's no one else"
the truth be told, i'm never going to know
whoever i was then i can't ever be again
the faith you've found i've never felt
the terror held in wedding bells
the comfort in "there's no one else"
the truth be told, i'm never going to know
I work in radio also. There are plenty of people in broadcasting who resent having to play Canadian content and advocate the idea that "best music should be played" no matter where it is from.
However, there is a problem with this. The means of distribution and production are increasingly owned by foreign multinationals like Vivendi Universal/Sony etc.
There is an incentive for these companies to create and promote products that sell well as opposed to being culturally relevant (read: Canadian). This is why we have Canadian Content regulations - to ensure the viability of Canada's cultural industries.
But before the American's get their "socialist" whacking sticks out, it is important to note that the US have had similar instances of protectionism in their history. One not look further than the US government's vicious protection of the US film industry as an example.
Granted, Raine's statements aren't a political manifesto it should be pointed out where his allegiances really lie.
There is an important product of this legislation that Raine neglects to mention. That would be FACTOR: Foundation to Assist Canadian Talent on Records. (http://www.factor.ca)
It's a foundation created by broadcasters as a part of their obligations outlined in the Broadcast Act. It is explicitly designed to provide funding and develop new Canadian Talent. The grant committee consists of recording industry and broadcasting professionals who judge the viability of a band's artistic expression and business plan.
Muchmusic has founded the similar VideoFACT.
So not only does the government ensure Canadian content will be played, but it also forces broadcasters to develop new Canadian talent. To Raine's credit, he appears to be putting some of his money where his mouth is by frequently taking young Canadian acts out on the road (showcasing them at SS etc.).
However, I don't think Raine's concern is truly for young acts that are up and coming. It's not even about Canadian culture for him.
There is a stigma in much of the US recording industry about CanCon-reliant acts. That is, recording artists that are signed and achieve popularity primarily through their Canadian label (and legislation) are less deserving of US label support.
Often this perception of a musical act on state life support looks bad on a band's resume when they go to work for the US label. Many acts within the multinational will find themselves at the back of the priority service rotation because of this.
Think about it, OLP have released 5 commercially viable albums and only now get some props and support from US Sony? In comparison, many many many US domestically signed acts have been, gone, faded out, burned away with far more US success (money and respect) than OLP.
I think this is what truly chaps Raine's ass.
But as someone else posted, it's a catch 22. I just resent him pissing and moaning about the advantages his band has enjoyed. This legislation affords the majority of Canadian artists with a place to be heard and funds to develop. It is a very unique system with alot of potential, but Raine's own record company and broadcast companies do not want to invest any more time and money in Canadian talent.
That is what sucks.
However, there is a problem with this. The means of distribution and production are increasingly owned by foreign multinationals like Vivendi Universal/Sony etc.
There is an incentive for these companies to create and promote products that sell well as opposed to being culturally relevant (read: Canadian). This is why we have Canadian Content regulations - to ensure the viability of Canada's cultural industries.
But before the American's get their "socialist" whacking sticks out, it is important to note that the US have had similar instances of protectionism in their history. One not look further than the US government's vicious protection of the US film industry as an example.
Granted, Raine's statements aren't a political manifesto it should be pointed out where his allegiances really lie.
There is an important product of this legislation that Raine neglects to mention. That would be FACTOR: Foundation to Assist Canadian Talent on Records. (http://www.factor.ca)
It's a foundation created by broadcasters as a part of their obligations outlined in the Broadcast Act. It is explicitly designed to provide funding and develop new Canadian Talent. The grant committee consists of recording industry and broadcasting professionals who judge the viability of a band's artistic expression and business plan.
Muchmusic has founded the similar VideoFACT.
So not only does the government ensure Canadian content will be played, but it also forces broadcasters to develop new Canadian talent. To Raine's credit, he appears to be putting some of his money where his mouth is by frequently taking young Canadian acts out on the road (showcasing them at SS etc.).
However, I don't think Raine's concern is truly for young acts that are up and coming. It's not even about Canadian culture for him.
There is a stigma in much of the US recording industry about CanCon-reliant acts. That is, recording artists that are signed and achieve popularity primarily through their Canadian label (and legislation) are less deserving of US label support.
Often this perception of a musical act on state life support looks bad on a band's resume when they go to work for the US label. Many acts within the multinational will find themselves at the back of the priority service rotation because of this.
Think about it, OLP have released 5 commercially viable albums and only now get some props and support from US Sony? In comparison, many many many US domestically signed acts have been, gone, faded out, burned away with far more US success (money and respect) than OLP.
I think this is what truly chaps Raine's ass.
But as someone else posted, it's a catch 22. I just resent him pissing and moaning about the advantages his band has enjoyed. This legislation affords the majority of Canadian artists with a place to be heard and funds to develop. It is a very unique system with alot of potential, but Raine's own record company and broadcast companies do not want to invest any more time and money in Canadian talent.
That is what sucks.
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Axtech
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It would be useful if it was used for new artists instead of popular artists. Instead of helping rising Canadians, we're over-playing the well-known ones to the point where otologist visits have gone up nearly 46%.
OLP didn't benefit from CanCon specifically. They benefited from Sony taking them on right away and exposing them. Once they were exposed and had a hit single, CanCon took over.
OLP didn't benefit from CanCon specifically. They benefited from Sony taking them on right away and exposing them. Once they were exposed and had a hit single, CanCon took over.
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Every now and then I fall out into open air just to feel the wind, rain and everything.
And though the hum and sway gets me down, I'll find the way to peace and openness.
"Robbo" - © Alex (happeningfish)...^5 ^5 v v
Every now and then I fall out into open air just to feel the wind, rain and everything.
And though the hum and sway gets me down, I'll find the way to peace and openness.
"Robbo" - © Alex (happeningfish)...^5 ^5 v v
Axtech wrote:It would be useful if it was used for new artists instead of popular artists. Instead of helping rising Canadians, we're over-playing the well-known ones to the point where otologist visits have gone up nearly 46%.
OLP didn't benefit from CanCon specifically. They benefited from Sony taking them on right away and exposing them. Once they were exposed and had a hit single, CanCon took over.
Exactly.
It should also be noted that when it comes to funding from FACTOR, major labels are eligible for this financial support and often receive preference from the committee.
So Raine needs to look at his record company. But I guess its much easier and cooler to piss and moan about the government on the DVD as opposed to the company that markets the DVD.
Now, that would be rock'n'roll.
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Axtech
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Raine couldn't say anything about Sony on the Sony DVD! 
They would have just cut it.
They would have just cut it. - -
Every now and then I fall out into open air just to feel the wind, rain and everything.
And though the hum and sway gets me down, I'll find the way to peace and openness.
"Robbo" - © Alex (happeningfish)...^5 ^5 v v
Every now and then I fall out into open air just to feel the wind, rain and everything.
And though the hum and sway gets me down, I'll find the way to peace and openness.
"Robbo" - © Alex (happeningfish)...^5 ^5 v v
Makes you wonder what happened to that "creative control" clause doesn't it?
Do you figure Sony could have bargained to drop that clause or drop OLP after the commercial disappointment that was Happiness?
That would explain the about-face after that record.
It would also lend some credibility to the inspiration behind "Do you like it?"
Do you figure Sony could have bargained to drop that clause or drop OLP after the commercial disappointment that was Happiness?
That would explain the about-face after that record.
It would also lend some credibility to the inspiration behind "Do you like it?"
I could have sworn they only had one album left on their contract with Sony. Weren't they allowed to release a "best of" or "live" album and then they'd be done with the contract?
I can't wait until the day schools are over-funded and the military is forced to hold bake sales to buy planes.
"It's a great thing when you realize you still have the ability to surprise yourself. Makes you wonder what else you can do that you've forgotten about"
"It's a great thing when you realize you still have the ability to surprise yourself. Makes you wonder what else you can do that you've forgotten about"
xjsb125 wrote:Is there a link to a government website for this legislation? I'd like to read up on it more.
I just wrote an honours paper on it so I have these URL's at the ready:
About the CRTC (the body that governs the legislation)
http://www.crtc.gc.ca/eng/about.htm
The Broadcast Act (very long)
http://www.crtc.gc.ca/eng/LEGAL/BROAD.htm
About Canadian Content (a better, easier read, not music specific though this legislation also encompasses television)
http://www.crtc.gc.ca/eng/cancon.htm
What makes a song Canadian?
http://www.crtc.gc.ca/eng/cancon/r_song.htm
That should get you started, there are tons of related links to click around on.
Welcome to the wonderful world of cultural policy
