interprète et productrice indépendante / 58. Éric Goulet, auteur-compositeur-interprète et producteur / 59. Marie-Claire Séguin, auteure-compositrice-interprète / 60. Éric Bélanger, musicien / 61. Éric Goulet, auteur-compositeur-interprète et producteur / 62. Marie-Claire Séguin, auteure-compositrice-interprète / 63. Éric Bélanger, musicien / 64. Éric Goulet, auteur-compositeur-interprète et producteur / 65. Marie-Claire Séguin, auteure-compositrice-interprète / 66. Éric Bélanger, musicien /Title: The ADISQ Gala: A Celebration of Music Industry Interests
Subtitle: Artists call for inclusion and representation in the ADISQ’s governance
Date: [Insert Date]
The ADISQ Gala, known as the grand celebration of music artists, is set to take place tomorrow evening. However, behind the glitz and glamour lies a deeper truth about the Association québécoise de l’industrie du disque, du spectacle et de la vidéo (
Salut à toi, artiste en musique. Toi qui espères monter sur les planches du Gala de l’ADISQ demain soir, pour empoigner un Félix doré de reconnaissance.
Comme tout le monde, tu as sans doute l’impression que le Gala de l’ADISQ est la grande fête des artistes en musique. Mais détrompe-toi, car la mission de l’Association québécoise de l’industrie du disque, du spectacle et de la vidéo (ADISQ) vise à favoriser le développement de l’industrie de la musique au Québec et à défendre les intérêts de « ses » membres. Ses membres sont des producteurs, des exploitants d’artistes. Et non des artistes ou des artistNews Article:
Title: The ADISQ Gala: A Celebration for Producers, Not Artists
Subtitle: Artists-entrepreneurs excluded from governance and denied fair compensation
The ADISQ Gala, known as the grand celebration of music artists, is not what it seems. While it may appear to be a night dedicated to honoring musicians, the true mission of the Association québécoise de l’industrie du disque, du spectacle et de la vidéo (ADISQ) is to promote the development of the music industry in Quebec and defend the interests of its members – producers and artist managers – rather than the artists themselves.
Although the ADISQ has made significant contributions to the promotion of Franco-Canadian culture, it prioritizes the interests of its producer members. This is evident in the fact that artist-entrepreneurs are not allowed to vote or be elected to the ADISQ’s board of directors, despite the fact that over 80% of producers in Quebec are artists themselves. This exclusion allows the ADISQ to maintain an industrial model that channels a significant portion of public funding towards its producer members, leaving many struggling artists without proper support.
It is shocking to learn that many artists nominated for the ADISQ Gala have to work additional jobs to make ends meet. Meanwhile, some producers provide their employees with benefits such as dental insurance and unemployment benefits. This disparity highlights the ADISQ’s control over a substantial portion of government subsidies, forcing artists who aspire to further their careers to sign with recognized producers and relinquish valuable rights. This business model mirrors that of real estate owners, as producers accumulate assets (the artists’ rights) to sell for profit upon retirement.
Furthermore, it is worth noting that two ADISQ administrators also sit on the board of the Société de développement des entreprises culturelles (SODEC). This ensures that producers remain essential intermediaries between artists and the public, denying artists access to subsidies intended to accelerate their careers. Despite the fact that the majority of artist-entrepreneurs are self-produced, not a single self-produced artist sits on the SODEC’s board of directors. A recent survey conducted by the Société professionnelle des auteurs et des compositeurs du Québec revealed that over 93% of the 188 artists surveyed were self-produced.
This inequality demands the attention of Quebec’s Minister of Culture, Mathieu Lacombe.
Beyond the facade of a “big music family” that the ADISQ Gala presents, there are deep divisions between producers (the exploiters) and artists (the exploited). For instance, the Union des artistes and the ADISQ have been at odds for 23 years over recording rates. As a result, the minimum amount a producer must pay for a star to record a five-minute song in the studio is still $160.50, a rate that dates back to the year 2000.
Another example is the expired agreement between the Guilde des musiciens et musiciennes du Québec and the ADISQ for recording sessions, which has been expired for 25 years since 1998. The agreement only offers $288.50 per musician for a three-hour recording session. Considering inflation, this amount should be increased to over $500 to maintain the musicians’ purchasing power.
In negotiations, procrastination always benefits someone, and it is not surprising that many artists complain about their abysmal working conditions behind closed doors, fearing public backlash or even legal action.
However, artists have the power to be part of the solution. The ADISQ Gala is the ADISQ’s greatest asset, as it enhances its reputation and gives the impression that the ADISQ is there for artists year-round. It legitimizes the ADISQ’s existence in the public eye and among politicians, justifying the prioritization of its producer members over artist-entrepreneurs when it comes to accessing public funds.
But what truly gives the gala its undeniable shine is the artists themselves – their talent, their work, their beauty, and their charisma as they walk the red carpet.
Therefore, if you have the opportunity to stand before a nostalgic microphone tomorrow night, in front of a million viewers, do not hesitate to demand that artist-entrepreneurs who are members of the ADISQ should also have the right to vote and govern, to participate in shaping the destiny of our music industry. After all, it is the artists who take the greatest risks in our beautiful musical history.
* The complete list of signatories:
1. Tania Kontoyanni, President of the Union des artistes
How can the ADISQ ensure fair compensation for artists and prevent the perpetuation of exploitation?
Result, artists are not fairly compensated for their work and are often forced to accept lower fees in order to secure contracts. This perpetuates a cycle of exploitation and undermines the value of artistic contributions to society.
In order to address this issue, artists and their representative organizations have been calling for greater inclusion and representation in the ADISQ’s governance. They argue that artists should have a voice in decision-making processes and be able to participate in discussions and negotiations that directly impact their careers and livelihoods.
Furthermore, there is a need for transparency and accountability within the ADISQ’s operations. Artists are demanding a more equitable distribution of government subsidies and increased financial support for independent and self-produced artists. They argue that the current system privileges certain members and leaves many artists without the necessary resources to succeed.
Ultimately, the ADISQ Gala should be a celebration of the entire music industry, including the artists who create the music that is being honored. It is time for the ADISQ to recognize the valuable contributions of artists and work towards creating a more inclusive and fair industry for all.
Wow, I had no idea there were hidden truths behind the ADISQ Gala! Can’t wait to uncover them and support the artists.