Today, Music Canada CEO Patrick Rogers shared his annual comments “The Status of the Industry” in DepartureWith the subsequent informed discussion about political shifts that affect the global musical industry.
Read his full comments below.
Good morning,
It’s great to be here, at the departure.
I want to thank Randy Lennox, Jackie Dean and Kevin Barton for making this slot for opening for Music Canada and our annual update in the industry. I would also like to spend time to congratulate the founder of CMW Nill Dixon on his reward for achievements in life. Neil was an important ally for musical Canada for decades and understood the importance of getting together in the daylight, and not just in places.
Every year CMW has always been a time when we could cover all the most important issues of the day not only for our members, but also the Canadian industry as a whole, and we are very glad that the departure gave us the opportunity to do the same, in a new atmosphere, with artists and their creations in the programming center.
And it makes sense to hold a new updated conference and festival, because the industry has changed. Even for the industry, which is always innovation, the industry has transformed mainly over the past ten years, and the acceleration of this progress, in the visible, has been accelerated.
All this, to say, I and the team in Music Canada, as well as the large labels of Canada are excited this week. We are excited about those whom you will hear, and we are very glad that the departure is as a premiere musical conference in the country.
Today I will start by saying a few words about the biggest problems and opportunities facing the global musical Hindusta and the place of Canada in it. After a moment, I sit down with the journalist Hannah Song to talk about how the results of the federal elections last week affect these items.
Tomorrow, the founder of BitdApp and co-director Morgan Heyel and I will talk about the rules and tools of AI. We are going to plunge into some of the largest headlines and talk about what all this means for the musical industry.
And it is important that throughout the week, members of large labels and artists of Canada will be at the panels and at the festival throughout the city.
But let me return to why I think the departure important For the Canadian musical industry.
This is important because the world continues to rotate faster and faster, and there are so many news. Our instinct Take it to the side threatens to win instinct Bend toThe field but the answer is to check each other. Say that we consider it important. And update each other about what we said earlier.
So, let me tell you about two things that I talked about last year.
I'm going to start with what I understood.
Last year I talked about AI. My journey with AI was left from holding the belief that May be It really was a giant machine brain that listened to music such as Harrison and Hendrix, and came up with his own music.
Completely realizing that the reason why the generative models of AI continued to create Rip Offs the most famous music in the world was that AI broke the most famous music in the world.
I had to know. Because the largest academic and legal supporters of AI-BEING enthusiastically to star-all are literally the same academic and legal supporters who once argued that the Internet-point capable of creating was not so long ago.
Well, here we are a year later, and … the line from companies-companies, which have already scraped the Internet crossed your Music – train their Models are that copyright is old and complex and obstacle to innovation. It is too difficult to track law and order, and it is too difficult to track what is swallowed, or even think about putting a price on it.
For example, I am glad that they abandoned gigantic brainstreams. It was difficult for me to fight. I was worried that politicians would turn to AI companies as tomorrow – the new border of science and innovation, flying cars and jets. And this, in turn, the cultural industries will be considered as yesterday, Golden Oldies and Flintstones.
But under the pressure of court cases and public control, they decided to fight – copyright. And copyright is a problem in which the musical industry is especially suitable for struggle. Because we just did it. After many years of tough solutions around the streaming economy, the industry is currently more technologically prepared for licensing AI than any other cultural industry in the world.
The global musical industry driven by streaming is innovation at its peak. We invested in people, infrastructure and technology that can be distributed and licensed by more than 100,000 new tracks a day, reading and compensating for all the many legalists along this path.
One of the statements that, as supporters of AI say, can say that they need exceptions to intellectual analysis of text and intellectual analysis, because most of what they swallow does not matter.
This argument may make sense, or not make sense when it comes to sets of medical data or traffic models, but this does not make sense in music. We all the time put the price of music, and mainly from the moment of creation of iTunes and now streaming, consumers are happy to pay for it. AI should not be different.
Do not deceive. Copyright is how artists pay when their music plays. To complain about copyright in this business is like a student who does not want to learn spelling or mathematics – and I know that these people will say that they have artificial intelligence for this – but we are all better when we understand the foundations of our world and our industry.
And I tell you this, since supporters of artificial intelligence are built on the doors of our new government (as well as all over the world) with promises of investment, performance and jobs if we simply get rid of the law on copyright. We must arm the government why it would be a mistake and harm that it would suffer. Successing cancer, mapping of galaxies and improving the crop does not require the theft of your music.
As I said, tomorrow Morgan Heyduk will tell you more about the possibilities that the AI represents the industry – and the rules that are necessary for their possible. But if you cannot do this, let me leave you with this:
If you want to protect the creators, their art and the human creative process, as we have known it from the time of Mikayelengel, you must fight to protect copyright.
Well, now to discuss what I made a mistake last year.
If you are all right, I soften a little in this and set the context. The first thing I want to tell you is that the time that I spent to work in politics made me believe in politics and the government. I know, because I have the first experience with good politics. This thorough consideration by smart people can lead to important changes.
So, from the very beginning, I hoped at the time when CRTC took after passing the C-11. And last year I made a speech about how CRTC should turn each stone and create a new system for a new digital global economy, and I gently warned that we could not regulate streaming using radio controls.
… And it took only about 22 hours after my speech so that CRTC released its phase 1 solution, which can be called “attracting foreign streamers to the Canadian broadcasting system,” but can also be considered “regulatory streaming services, such as Canadian radio stations.”
I cannot hide my disappointment about this. Part of the disappointment comes from understanding how we got here. I understand that those parts of the industry that rely on state funding have observed traditional financing for more than ten years both in the cinema and on television. The contributions to financing programs based on the consolidation of the market have approached the lack of consolidation. Financing, based on the training camp on cable accounts, evaporated to cut the cords. Government financing aimed at art and culture did not satisfy demand, even after ten years of a traditionally friendly government. And now, especially now, the idea that mass foreign services should pay for Canadian content is a tempting policy.
But let me be clear: the best cultural policy in Canada is the one that stimulates global digital platforms to invest in Canada. To have Canadians in the field, working with Canadian artists, Canadian labels and publishers, as well as Canadian festivals, places and holidays.
We must want Canadian employees, Canadian plans of the artist, Canadian pages of surge and Canadian sponsorship.
But so far the desire of foreign money has won. Phase 1 of the CRTC process did not recognize the contribution to the Canadian industry, which already produce platforms.
This is a mistake. This will lead to less investment in Canada and ultimately, to the disappointment of all, will make us look for more money earlier than later.
Two weeks ago, we filed a motion to interfere with the Federal Court of Appeal in the case put forward by the platforms. Our concrete approach will repeat what we said from the very beginning: that the investments made by the platforms in Canada should be understood and appreciated by the regulator within the framework of the deposit system. We were leading interested parties in parliament and CRTC. It makes sense that we must share the views of the commercial musical industry with the court.
We will also contribute to the rest of the year to official CRTC consultations. Our goal is still to help CRTC build the best normative -legal frame for the stream era so that Canadian and indigenous artists can compete with every song when, libs allocated everywhere in the world.
I still hope. But hope is not a plan. We will work hard on this file. Canada deserves a normative system that is inspired all over the world, like our artists.
I already look forward to the opportunity to return next year to tell you how we did it.
Now we had elections last week. We have something to talk about. To do this, I am going to talk with the journalist Hannah Song. At first you knew her as a multi -human VJ, now she writes in culture for stores such as The Globe and Mail, Toronto Star and The New York Times. She is a co -founder of Media Girlfrings, a company that priorities to include in the Canadian media. It seemed to ask her to join me very much on the brand for who the departure should become.
Please welcome Hannah San.
