The Technical and Documentary Gala of the 2021 edition of the Prix Gémeaux was held on Sept. 17, 2021. Among the 22 SOCAN members nominated in the music categories of this celebration of the Québec television industry, Michel Corriveau was honoured twice, including once alongside his son Jérémie, while Alain Auger also walked away with a trophy.

Here are the winners in the music categories:

Best Original Score, Fiction
Jérémie Corriveau, Michel Corriveau
Les pays d’en haut – Season 6, Episode 52
Encore Télévision/Les Productions Sovimage

Best Original Score, Documentary
Alain Auger
Je m’appelle humain
Terre Innue

Best Original Score, All categories
Michel Corriveau
Les pays d’en haut – Season 6
Encore Télévision/Les Productions Sovimage

SOCAN congratulates its winning members, and salutes their excellent work in composing music for the screen. For more information on the categories and nominations, click here.

On Sept. 14, 2021, Music Publishers Canada and the RBC Emerging Artist Project presented a free online panel on the European Union Copyright Directive, as part of Canadian Music Week’s “Virtual Voices” series.

The hour-long online discussion featured John Phelan, Director General, International Confederation of Music Publishers, who spoke in depth with Axel Voss, Member of the European Parliament and Lead Negotiator for the EU Copyright Directive.

The directive seeks to enforce copyright compliance in the digital music space by requiring all “online content-sharing service providers” (essentially, user-generated-content platforms) to obtain authorizations from rights holders to provide the public access to copyright-protected works uploaded by the platform’s users.

Unless an online content-sharing service provider can demonstrate that it has made “best efforts” to either license copyrighted videos and songs in their users’ uploads, and take down infringing content and ensure that the song, video, or other creative work isn’t infringed upon again, the platform will be liable for copyright infringement.

While the EU directive is just a starting point in a rising tide of regulatory changes worldwide, the conversation also examined many possibilities for fairer renumeration from platforms using music as their main business model.

The imbalance is caused mainly by the “safe harbour” provisions, which big platforms used to disqualify themselves from legally complying with responsible music licensing. These provisions are applicable only to passive hosting sites, such as internet service providers.

According to Voss, there’s still time to correct that imbalance. In fact, the comprehensive EU Copyright Directive has been adopted by many of the 27 EU-member states, which will bring into force national laws to comply with it.

Similarly, in Canada, Bill C-10 – which died on the Order Paper once the 2021 Federal election was called – sought to regulate the digital global streaming platforms, to ensure Canadian creators are supported, fairly represented, and remunerated for their work when it’s used by online broadcasters, including user-generated content services.

Eventually, by making copyright reform an international effort, Voss explains, these corrective actions will ensure a “brighter future for the music industry.” He also adds that the EU Copyright Directive promotes building more trust, and encourages platforms and creators to work together, while allowing for more transparency.

When asked about the contentiousness surrounding Article 17 of the EU Copyright Directive as a hindrance to right of expression, censorship, and net neutrality, Voss explained that it’s a misunderstanding. In fact, Copyright Reform directives want platforms to use more copyright-protected works. They can legally use copyrighted music if they pay creators fairly. Directive 17 promotes mutual respect and obligations between the platform using the music and the creators of that music.

It’s clear that copyright reform is important and an integral part of international legislation. It clarifies big-tech obligations, and “future-proofs” compliance when new services come up, providing a clear legal landscape for user-generated-content services.

To learn more about the EU Copyright Directive, click here.

SOCAN members Duffmusiq and Richard Tichelman have both won second-place prizes in the genre categories of the 2021 Unsigned Only song competition. Duffmusiq took the honours in the Blues category, for his song “I Can’t Get Over Losing You (AKA Ordinary Fool),” while Tichelman won in the Screenshot category, for his song “The One.”

In addition to these genre winners, 16 other SOCAN members, or acts featuring SOCAN members, also earned honorable mentions in their respective categories, including triple recognition for solo artist Madison Olds, and five honourees in the country category.  These winners are:

Adult Contemporary (AC)
Madison Olds, “Cliche Of Falling In Love”
Payge Owen, “Still”

Kyle McKearney, “Devil Water”

No Trombones, “Walk The Walk”

Mike Whiteside, “3 AM”
Alessia Cohle, “All Good”
Carson Janik, “Better Than That”
Alexa Goldie, “Not My Own”
Trevor Panczak, “Where I Go To Come Back”

The Cabaret Quicksand, “Colours”
Julia Gartha & Ariza, “Nothing’s More Lonely”

Alex Bird, “Fire Not Warmth”
Terry Jahz Lewis, “Romance Me”

Pop/Top 40
Madison Olds, “If You Wanna”

Smoothsaylin, “Sunday Morning”

Madison Olds, “Cliché of Falling in Love”

World Music
Dieufaite Charles (aka Jahfaa), “Li Pap Kraze”

SOCAN congratulates all of our winning members on these achievements. For a complete list of winners, and to hear the winning songs, click here.