Radio and Canadian Recording Industry

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Presentation transcript:

Radio and Canadian Recording Industry MIT2000 11/23/2018 MIT 2000 Recording History

Canadian Radio Eras: Towards Federal Involvement, ca. 1900-1932 Golden Age (Public Radio), 1932-1955 Challenge of Television, 1955-1970 Local Radio Competition, 1970-present 11/23/2018 MIT 2000 Recording History

Radio as Mass Medium (1930s/40s) Emphasis on Evening broadcasts (drama, variety) Heterogeneous audiences US shows/stations popular (‘Amos n’ Andy’) CBC is only network 11/23/2018 MIT 2000 Recording History

Challenge of TV, 1950s Radio Audiences: Advertising: National to Local mass market to market segmentation Advertising: National to Local lower cost local retailers (auto dealerships) 11/23/2018 MIT 2000 Recording History

Radio Adapts Radio Programming: Format Programming Mixed Format to Single Format Format Programming Specific demographics Teens DJ/ Rock Music formats 11/23/2018 MIT 2000 Recording History

Music Format Radio Cheap promotion for recording industry Cheap content for broadcasters Music: national/global audiences/advertising: local Society to Segment-making Media 11/23/2018 MIT 2000 Recording History

AM to FM Share of Listening: Stereo: better transmission Post-1980s: AM saturated poor reception 11/23/2018 MIT 2000 Recording History

Listening Changes 1. In-home to out-of-home (50-50 today) Mobile listening transistor radio car radios suburbanization 2 Public (CBC) to private 11/23/2018 MIT 2000 Recording History

Canadian Content Regulations Commercial Radio; AM/FM 1970-98 (30%) popular music selections in broadcast week 1998: 35% 35% from 6AM to 6PM, Mon-Fri Goals: cultural industrial 11/23/2018 MIT 2000 Recording History

Defining Canadian Content MAPL System Require minimum 2 of: M –music: composed entirely by CDN A -artist: performing piece is CDN P -production: recorded or performed wholly in Canada; broadcast live in Can. L –lyrics written entirely by Canadian 11/23/2018 MIT 2000 Recording History

CANCON/MAPL: Exceptions Recorded before 1972 (+ one of MAPL) Instrumental performance of piece composed by CDN Live/recorded after Sept 1, 1991 and CDN has 50% credit as composer/lyricist (“Bryan Adams exemption”) 11/23/2018 MIT 2000 Recording History

Canadian Recording Industry (Straw) “Branch Plant” era (1950s-60s) press/distribute dependent on US firms (Capitol Records, etc.) Musicana, Regal, Phonodisc 11/23/2018 MIT 2000 Recording History

End of Branch Plant Era (1960/70s) horizontal/vertical integration “distribution oligopoly” harder for CDN independents to compete 11/23/2018 MIT 2000 Recording History

“Branch Plant” Case Study Quality Records, 1950- 20% market late 1970s license US songs/albums lose CDN rights for multinationals company collapses, sells assets 11/23/2018 MIT 2000 Recording History

“National” Era, 1970s/1980s Manufacturing to Talent Original content multinationals for CDN distribution CDN Independent Record Production Association (1975-) 11/23/2018 MIT 2000 Recording History

National-Era Recording Labels Aquarius, 1968- concert-booking, local recording April Wine True North Records, 1970- talent manager owner Bruce Cockburn, Murray McLaughlin Anthem Records, 1977- Rush’s production company as owners 11/23/2018 MIT 2000 Recording History

Case Study: National Era Attic Records Diverse markets/ genres Discover talent License CDN performers for foreign markets CBS, Polygram -CDN distribution Back Catalogues 11/23/2018 MIT 2000 Recording History

National Era: Summary Creative Side Multinationals for stability National Musical “Canon” Cockburn, M. McLaughlin, Lightfoot Back catalogue profits Lobby for govt subsidies, CANCON 11/23/2018 MIT 2000 Recording History

Blue Rodeo/CDN Identity Golden Era, 1980s-90s Political Economy Anti-Americanism Canadian Stories “Fools Like You” -Meech CDN places, symbols “Hasn’t Hit Me Yet” “Western Skies” 11/23/2018 MIT 2000 Recording History