We need a new, up-to-date definition of “Canadian content.” We may soon get one.
[This was my weekly column for GlobalNews.ca. – AC]
A long overdue CRTC review of the Canadian content rules has begun. The outcome will affect music, radio, and both audio and video streaming.
Radio, for example, is working under many regulations that have been in place since 1971. There have been a few tweaks along the way, but no Cancon review has been done in the age of streaming. It’s time for a serious update.
Cancon has been both helpful and controversial, and it’s instructive to know a little of its history.
Before 1970, there wasn’t much of a music industry in Canada compared with many other countries. We had almost zero music infrastructure. Most record labels were branch-plant operations of foreign labels, while domestic companies were small and struggling. We didn’t have much in the way of recording studios, producers, promoters or managers.
Globally speaking, we were a musical backwater. Any Canadian artist who wanted to make it big knew they had to leave. Neil Young, Joni Mitchell, Paul Anka, Leonard Cohen and other promising stars bolted for the United States.
But things had started to change within the culture. In 1965, we got our own flag, shrugging off an important part of British colonialism. Then came Expo 67 in Montreal, which had the interesting effect of raising our pride when it came to our culture. There were more discussions about what it meant to be Canadian. One point of agreement was that for a distinct Canadian identity to exist, Canadians needed to be able to tell their stories to each other.
Keep reading.
