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

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

3. 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

4. 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

5. 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

6. 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

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

8. 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

9. Canadian Content Regulations
Commercial Radio; AM/FM
(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

10. 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

11. 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

12. 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

13. 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

14. “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

15. “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

16. 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

17. 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

18. 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

19. 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