Transcript 12.02.15WEBRecording

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RADIO AND CANADIAN
RECORDING INDUSTRY
MIT2000
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Canadian Radio Eras:
1.
2.
3.
4.
Towards Federal Involvement, ca. 1900-1932
Golden Age (Public Radio), 1932-1955
Challenge of Television, 1955-1970
Local Radio Competition, 1970-present
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Radio as Mass Medium (1930s/40s)
1. Emphasis on Evening
broadcasts (drama,
variety)
2. Heterogeneous
audiences
3. US shows/stations
popular (‘Amos n’ Andy’)
4. CBC is only network
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Challenge of TV, 1950s
Radio Audiences:
1. national to local
2. mass market to market
segmentation
2. Advertising: National to
Local
1. lower cost
2. local retailers (auto
dealerships)
1.
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Radio Adapts
1.
Radio Programming:
1. Mixed Format to
Single Format
2.
Format Programming
1. Specific
demographics
2. Teens
3. DJ/ Rock Music
formats
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Music Format Radio
1. Cheap promotion for
recording industry
2. Cheap content for
broadcasters
3. Music: national/global
1. audiences/advertising: local
4. Society to Segment-making
Media
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AM to FM
1. Share of Listening:
1. 1968: 6% FM
2. 2000: 65% FM
2. Stereo: better
transmission
3. Post-1980s: AM
1. saturated
2. poor reception
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Listening Changes
1. In-home to out-of-home (50-50
today)
1.
–
–
–
–
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Evening to Daytime
Mobile listening
transistor radio
car radios
suburbanization
Public (CBC) to private
Listening (early 2000s) :
Private (85); CBC (8); US (4);
community/campus (4)
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Canadian Content Regulations
1.
2.
Commercial Radio; AM/FM
1970-98 (30%)
1.
3.
1998: 35%
1.
4.
popular music selections in
broadcast week
35% from 6AM to 6PM, Mon-Fri
Goals:
1.
2.
cultural
industrial
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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
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CANCON/MAPL: Exceptions
Recorded before 1972 (+
one of MAPL)
2. Instrumental performance of
piece composed by CDN
3. Live/recorded after Sept 1,
1991 and CDN has 50%
credit as composer/lyricist
1. (“Bryan Adams
exemption”)
1.
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Canadian Recording Industry (Straw)
1. “Branch Plant” era
(1950s-60s)
1. press/distribute
2. dependent on US
firms (Capitol
Records, etc.)
3. Musicana, Regal,
Phonodisc
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End of Branch Plant Era (1960/70s)
horizontal/vertical
integration
2. “distribution
oligopoly”
1. harder for CDN
independents to
compete
1.
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“Branch Plant” Case Study
1. Quality Records, 19501. 20% market late 1970s
2. license US songs/albums
3. lose CDN rights for
multinationals
4. company collapses, sells assets
5.
6.
7.
http://www.youtube.com/watch?v=M8dipf
D8-ww
http://www.youtube.com/watch?v=DCl1z
hKWZq8
http://www.youtube.com/watch?v=PeKdI
WSc6DU
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“National” Era, 1970s/1980s
1.
2.
3.
4.
Manufacturing to Talent
Original content
Multinationals for CDN
distribution
CDN Independent Record
Production Association (1975-)
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National-Era Recording Labels
1.
Aquarius, 1968concert-booking, local
recording
2. April Wine
1.
2.
True North Records, 1970talent manager owner
2. Bruce Cockburn, Murray
McLaughlin
1.
3.
Anthem Records, 19771.
Rush’s production company
as owners
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Case Study: National Era
• Attic Records, 1974-99
• Diverse markets/ genres
• Discover talent
• Teenage Head (late 1970s)
• “Picture My Face”
• http://www.youtube.com/w
atch?v=oc_wy8KNVXQ
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Case Study: National Era
• License CDN performers for
foreign markets
• The Nylons
• Patsy Gallant (“From NY to LA”)
• http://www.youtube.com/watch
?v=haZCnt_SVgM (1976)
• Distribution: foreign
multinationals
• Back Catalogues
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National Era: Summary
1.
2.
3.
Creative Side
Multinationals for stability
National Musical “Canon”
1.
4.
5.
Cockburn, M. McLaughlin,
Lightfoot
Back catalogue profits
Lobby for govt subsidies,
CANCON
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Blue Rodeo/CDN Identity
1. Golden Era, 1980s-90s
2. Political Economy
3. Anti-Americanism
1. “Piranha Pool” (1987)
2. “God and Country”
(1989)
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Blue Rodeo/CDN Identity
1. Canadian Stories
1. “Fools Like You” –Elijah
Harper/ Meech Lake
2. CDN places, symbols
1. “Western Skies”
2. “Hasn’t Hit Me Yet”
1. http://www.youtube.co
m/watch?v=kRM7QA
Z3IxI
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