CRTC Redefines Canadian Content: A Seismic Shift for Music and Streaming

The Canadian Radio-television and Telecommunications Commission (CRTC) is undertaking a notable consultation to modernize its definition of Canadian content for radio and audio streaming services. This initiative, building upon a 2022 consultation wiht commercial radio, aims to adapt regulations to the evolving digital landscape and ensure fair depiction for Canadian artists and creators.

Spearheaded by Scott Shortliffe,Vice-President,Broadcasting,the consultation focuses on three key areas. First, it will re-examine the definition of Canadian audio content, particularly how to better support Indigenous content and clarify the criteria for “Canadian musical selection” and “emerging artist.” Second,the CRTC will review the “contribution framework,” prioritizing content such as news.the consultation will address the future of audio and the potential impact of artificial intelligence (AI).

Central to the discussion is the MAPL system, the industry standard since 1971 for identifying Canadian musical selections. Currently, a song qualifies as Canadian if it meets at least two of the following criteria: M (music composed entirely by a Canadian), A (music or lyrics principally performed by a Canadian), P (live performance recorded wholly in Canada or performed and broadcast live in Canada), and L (lyrics written entirely by a Canadian).

Shortliffe indicated a preliminary CRTC view to drop the P (performance) requirement from MAPL. This is a contentious issue, as it has prevented some major Canadian artists, including Bryan Adams, Justin Bieber, and Celine Dion, from being classified as Canadian under the current system. “We are reopening that discussion and we think we will have a very robust discussion,” Shortliffe stated during a thursday technical briefing. “We’re gonna see whether the ‘P’ could be replaced…make it the producer or the first creator of the music.There’s a number of different options.”

the consultation will also examine Canadian airplay quotas for streaming services,with the CRTC suggesting that these platforms should contribute to the discoverability of Canadian French-language and Indigenous music. “Such as, customary radio broadcasters have to carry quotas to ensure presence on the airwaves…we’re going to ask questions about whether these mechanisms are still valid, whether this contribution framework should be amended,” Shortliffe explained. “Again, the idea is, the objective is not to force any Canadian to listen to a particular style of music, but to make sure that they have access to Canadian choices.How do we do that?”

Supporting news content through audio services is another priority. “We want to make sure we have an ecosystem for audio…radio and satellite and streaming services in Canada, that supports music, but also supports facts and news,” Shortliffe emphasized.

The CRTC is accepting comments until april 7,2024,and will hold a public hearing starting June 18,2024. Separate consultations are underway regarding the definition of Canadian content for audio-visual services and television, and on market dynamics and sustainability.

Headline: The Future of Canadian Content: How CRTC’s New Definition Will Transform Music and Streaming

Opening Statement

Have you ever wondered what truly makes music “Canadian”? The Canadian Radio-television and Telecommunications Commission (CRTC) is rethinking this age-old question with a consultation that could redefine the landscape of Canadian content. Join us as we delve into the seismic shift that promises to transform the music and streaming industry.

Intro to the Expert

Meet Dr. aria Clarkson,a renowned expert in cultural policy and the dynamics of national broadcasting platforms. With a rich history of analyzing policy impacts on creative industries, Dr. Clarkson provides insights into what this redefinition might mean for Canadian artists and creators.

Interview with Dr. Aria Clarkson

Senior Editor: Dr. Clarkson, the CRTC is poised to modernize its definition of what constitutes “canadian content” in music and audio streaming. What key changes do you anticipate and why are they critically important?

Dr. Clarkson: The CRTC’s move to potentially update the MAPL system is incredibly significant. This system, introduced in 1971, set the benchmarks for evaluating Canadian content through criteria like music composition, performance, and lyrics. By reconsidering the ‘P’ for performance, it opens the door to recognizing our major artists—like Justin Bieber and Celine Dion—beyond the current rigid framework. Such updates can bolster the presence of Canadian talent on global platforms.

Senior Editor: The consultation also aims to better support Indigenous content. How might redefining “Canadian audio content” benefit Indigenous artists and creators?

Dr. Clarkson: redefining “Canadian audio content” to better reflect Indigenous contributions is a crucial step forward. Historically, Indigenous artists have been underrepresented in mainstream media due to narrow definitions of Canadian content.by including criteria that highlight Indigenous music and narratives, we are making strides toward equitable portrayal. This could transform how Indigenous stories and sounds are shared both locally and globally.

Senior Editor: The CRTC is considering new roles for airplay quotas on streaming services. How should these services contribute to the discoverability of Canadian French-language and Indigenous music?

Dr. Clarkson: Streaming services have the potential to democratize music revelation.By implementing adjusted quotas—perhaps akin to traditional radio’s approach for these languages and ethnic content—streaming platforms can ensure Canadian French-language and Indigenous music is more accessible. This not only enriches cultural diversity but also nurtures our linguistic and cultural heritage for future generations.

Senior Editor: Support for news content within audio services is another pillar of CRTC’s proposal. What systems or frameworks should be in place to ensure Canadian news is effectively supported?

Dr. Clarkson: To sustain a robust audio news ecosystem, it’s crucial to ensure fair financial support for Canadian news production. This might involve incentivizing audio services to partner with local newsrooms, ensuring accurate and timely news dissemination. Similar to existing subsidies for traditional broadcasters, such systems would foster a robust media landscape that supports both facts and entertainment.

Key Takeaways: Adaptive Canadian Content

1. Revised Standards: Possibly updating the MAPL system can lead to better recognition of top Canadian artists, benefiting their global classification as Canadian musicians.
2. Indigenous Inclusion: Redefining Canadian content criteria can significantly amplify Indigenous voices in the music scene.
3. Streaming Quotas: implementing airplay quotas for streaming services can enhance the discoverability of Canadian French-language and Indigenous music.
4. Robust News Ecosystem: Supporting audio news through financial incentives helps sustain a well-rounded Canadian media landscape.

Conclusion

The CRTC’s initiative represents more than mere regulatory updates; it’s a commitment to nurturing and diversifying Canada’s cultural landscape.Stay tuned for how these changes could invigorate the Canadian music industry, ensuring fairness and accessibility for all Canadian content creators.

Engagement Prompt

How do you think these changes will impact Canadian artists and creators? Share your thoughts in the comments or let us no on social media using #CanadianContentRevolution.