Five years have gone by since the release of Gabrielle Shonk’s first album. After more or less losing herself in the whirlwind that followed, the pause imposed by the pandemic allowed her to recharge her batteries, re-focus, explore new musical avenues, change record labels – she’s now with Arts & Crafts – and come up with a new musical version of herself for the world to enjoy. With Across The Room, she dispels the myth of the sophomore album by diversifying her musical influences, and telling her stories from an even more personal perspective. In this video, she tells us about creating Across The Room, an album of which she’s extremely proud, and that will undoubtedly gain her a wider audience.
Photo by VilleDePluie
Notice of Intent to Amend proposed Tariff 22.A (2014-2018)
Story by SOCAN | Monday February 27th, 2023
SOCAN is publishing a Notice of Intent to Amend its proposed Tariff 22.A (2014-2018), in accordance with the Copyright Act.
Scope: The proposed tariff applies to the use of musical works in SOCAN’s repertoire in connection with the operation of an online music service, including in music videos, in 2014 to 2018.
Amendment: SOCAN will apply to the Copyright Board of Canada to limit the scope of the proposed tariff to apply only to on-demand streams and recommended streams, including streams by a hybrid service, of music videos (as these terms are defined in the proposed tariff).
If the Copyright Board approves SOCAN’s application, the proposed tariff would exclude audio-only online music services.
Audio-only tariff is not necessary: SOCAN is taking this step because it has made arrangements with all users who are known to have operated audio-only online music services in Canada during the tariff period, which is long expired, and to whom the proposed tariff would have applied absent the arrangements. As a result, a tariff for those audio-only uses is no longer necessary.
The amendment would promote efficiency for SOCAN and its members by avoiding any further steps in connection with the Copyright Board’s examination of the audio-only portion of the proposed tariff, including the possibility of judicial review proceedings, when such a retroactive tariff is no longer necessary. It would also allow SOCAN to continue to dedicate its efforts and resources to the best interests of its members.
For additional information, please consult the Notice of Intent to Amend (below) and direct any inquiries to licence@socan.com.
Notice of Intent to Amend SOCAN Proposed Tariff 22.A (2014-2018)
February 22, 2023
Please be advised that SOCAN intends to make an application to the Copyright Board of Canada, under paragraph 69(b) of the Copyright Act, to amend the following proposed tariffs:
SOCAN Tariff 22.A – Internet – Online Music Services (2014, 2015, 2016, 2017, 2018) (the “Proposed Tariffs”)
SOCAN has made arrangements covering all users known to have operated audio-only online music services in Canada during the effective period of the Proposed Tariffs. As a result, a tariff for those uses is no longer necessary. Therefore, SOCAN will request that the Proposed Tariffs be amended so that their scope is limited to the use of musical works embodied in music videos in connection with the operation of an online music service and its authorized distributors.
Specifically, SOCAN will request that all of the acts set out in the Proposed Tariffs be excluded from the approved tariff for the entire proposed effective period, other than the on-demand streams and the recommended streams, including such streams by a hybrid service, of music videos (as these terms are defined in the Proposed Tariffs).
SOCAN intends to make the application to amend the Proposed Tariffs during or after the week of March 26, 2023. The Proposed Tariffs can be accessed on the Copyright Board of Canada’s website at the links set out above.
For the avoidance of doubt, this Notice of Intent to Amend does not affect any other proposed tariff, including the other proposed tariffs under consideration in the Online Music Services [SOCAN: 2007-2018] proceeding, which are as follows:
- SOCAN Tariff 22.2 – Audio Webcasts (2007, 2008);
- SOCAN Tariff 22.B – Internet – Other Uses of Music – Audio Webcasts (2009, 2010, 2011, 2012, 2013);
- SOCAN Tariff 22.B – Internet – Other Uses of Music – Commercial Radio; Satellite Radio and Pay Audio (2014, 2015, 2016, 2017, 2018); and
- SOCAN Tariff 22.C – Internet – Other Uses of Music – Other Audio Websites (2014, 2015, 2016, 2017, 2018).
Accordingly, this Notice of Intent to Amend does not apply to activities covered by any such tariff, including, without limitation, simulcasting activities of commercial radio stations; simulcasting and “near simulcasting” activities of pay audio services; and Internet activities of satellite radio services, non-commercial radio stations and the CBC.
For additional information, please direct inquiries to licence@socan.com.
This constitutes a public notice under section 69.1 of the Copyright Act.
Photo by Marie-Michèle Bouchard
RIDEAU 2023: The most important francophone performing arts event in America
Story by Marie-Michèle Bouchard | Wednesday February 22nd, 2023
The 2023 edition of RIDEAU, the most important Francophone meeting of the performing arts in America, was held in Québec City from Feb. 12–16. SOCAN sponsored the stage at Théâtre du Petit-Champlain where three showcases were presented each night.
A total of 12 artists each mounted that stage to present a 20-minute performance. The SOCAN stage welcomed Chloé Sainte-Marie, Scott-Pien Picard, Juste Robert, Alex Pic, Veranda, Marco Ema, Gentiane, OURS, Noé Lira, Shaina Hayes, Govrache, and Étienne Fletcher. You can view our photo gallery of those showcases here.
RIDEAU is not only a series of cultural showcases, but it also a meeting place for numerous players in the industry. On Monday, Feb. 13, the Forum RIDEAU was held at the Québec City Convention Centre. The event included training, discussion panels, and conferences on the various issues related to performing arts. Accredited presenters were also able to meet with various record companies and entertainment agencies in order to complete their programming for the coming year, by participating in the Place du marché.
The event culminated with the presentation of the Gala des Prix RIDEAU which was hosted by Marie-Soleil Dion and Louis-Olivier Mauffette. This award ceremony celebrates the presentation of performing arts, and recognizes the importance of the presenter’s trade. The complete list of winners is available here (French only).
Two panels at the Forum RIDEAU caught our attention:
An exploration of Québec’s music consumption habits
Presented by Simon Claus, Director of Public Affairs and Research at ADISQ, this presentation provided a detailed portrait of the music consumption habits of Québec’s population. The data presented was based on the third edition of its MQF guide, from a large survey of 4,003 people, published in November of 2022. The data covers both consumption, and the various sources of musical discoveries, or live shows. For example, when do people listen to music, how is this listening done the most, online listening behaviours, and the preferred means of musical discovery of Quebecers ,by age group, and even the different profiles of show-goers. You can read the MQF guide here (French only).
Roundtable: Harassment and misconduct in the arts. What is my role?
Hosted by Sophie Hébert, esq., Director of Labour Relations at ADISQ, and David Laferrière, General and Artistic Director, Diffusion En Scène/Théâtre Gilles Vigneault and President of RIDEAU, this round able, co-presented by Rideau and ADISQ, tackled some difficult but necessary topics. Selected panelists — Catherine Rossi, researcher and victimologist at Laval University; Michel Séguin, professor at UQAM; and Johanne St-Gelais, lawyer and retired judge — opened up about the role we should play in addressing harassment and misconduct in the arts by answering several questions. What’s the role of the artist and of the venue operator in this social debate? How to avoid the most common pitfalls? What are the ethical issues related to the social responsibility of artists? Why has it become necessary to apply ethical principles in our professional activity? How to measure the unknown number of aggressions or other reprehensible acts, that disrupt professional and cultural life? What practices should be implemented to manage this type of situation? According to the panelists, as an organization or a company, the main solution would be to clearly define its values in order to orient its choices accordingly, and require the various stakeholders to commit to respecting these choices.
For more details on the 36th edition of RIDEAU, visit its website.