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• #Juno wheeler full#

Today the Canadian Association of Broadcasters (CAB) wants the quota cut to 25 per cent, down from 35 to 40 per cent. Historically, private radio has embraced Cancon quotas grudgingly at best. What Cancon changes does commercial radio want? Generally, if at least two of the four acronym parts are fulfilled by Canadians, the musical selection is deemed to be Cancon.

It stands for “Canadian content.” Determining whether music is Canadian is done by the MAPL system, which breaks down songs into four components: music (composition), artist, performance and lyrics. Still, changes to the regulations are not only being considered, they are inevitable as technology and the music industry evolves. Stakeholders including the Canadian Association of Broadcasters (representing big radio) and Music Canada (speaking for record labels) have advocated for adjustments to Cancon requirements to suit their (sometimes conflicting) needs.Ĭancon at 50 is not in mid-life crisis and it is not in danger of losing its near sacrosanct status. At the same time, the CRTC is considering changes to the commercial radio policy framework. With Bill C-10, the Liberal government is proposing updates to the Broadcasting Act in an effort to regulate online streaming services.

Private radio is steadily losing audience share to streaming platforms such as Spotify, YouTube and Apple Music, which operate in this country without Cancon or expenditure stipulations.Ĭhanges are afoot in that regard.

#Juno wheeler full#

“Cancon hit the foundations of Canada’s culture, and it hit it hard.”Īlthough Cancon still stands after a full half-century, terrestrial radio is losing its dominance as the star maker of the music industry. “Drake grew up in a Canada where they heard Canadian artists,” says Bernie Finkelstein, founder of True North Records and one of the 24 SOCAN Guardian honorees. Those three will take part in a Juno tribute to Canada’s homegrown hip-hop scene. But consider: no Cancon, perhaps no Kardinal Offishall, no Maestro Fresh-Wes and no Michie Mee. Likewise, an international star such as Drake might seem to transcend Cancon. But without Cancon helping to build the industry over the past 50 years, their careers were anything but inevitable. It’s easy to say now that we’d listen to those artists regardless of their passport. Performers and presenters at this weekend’s Junos include Justin Bieber, Jann Arden, Jully Black, Shania Twain, Michael Bublé, Alessia Cara and the Tragically Hip with Leslie Feist. Thirteen of the 24, including Juneau, received their SOCAN Guardian Awards posthumously. Mair is one of 24 Canadian music industry pioneers who were honoured last month by the Society of Composers, Authors and Music Publishers of Canada (SOCAN) for their efforts in boosting Canadian culture. “To them, the offices were here just to distribute American and British hits,” says Alexander Mair, who co-launched the independent label Attic Records in 1974. Though the foreign-owned major labels had branch offices in Toronto, their commitment to Canadian talent was negligible. (New stations are held to a 40-per-cent-standard.)īefore the quota took effect in 1971 – it was 30 per cent originally, initially applied to AM stations only – there was hardly a Canadian record industry to speak of. The more significant milestone this year is the golden anniversary of what is known as Cancon, a set of Juneau-spearheaded CRTC regulations that, among other things, require radio stations to devote at least 35 per cent of their playlists to Canadian music. Postponed twice and originally scheduled for Toronto’s Scotiabank Arena, the show will be televised from a variety of music venues throughout Canada.Īfter many COVID-19 setbacks, Juno Awards producers say show will go on The annual celebration of Canadian music began as the Gold Leaf Awards, created by RPM Weekly trade magazine founders Walt Grealis and Stan Klees. This Sunday, the Canadian Academy of Recording Arts and Sciences (CARAS) will mark what it’s calling the Junos’ 50th anniversary. The applause? It was deep appreciation for Juneau, a rock star among the Gordon Lightfoots and Anne Murrays, on nothing less than the occasion of the dawning of the Canadian music industry. They stood partly because the organizers couldn’t afford to rent tables and chairs. Bestowed the Music Man of the Year Award, the chairman of the Canadian Radio-television and Telecommunications Commission (CRTC) received a standing ovation from a packed audience of roughly 600 Canadian music artists and industry types in the ballroom at Toronto’s St. 22, 1971, Pierre Juneau was the ballyhooed attraction at the Juno Awards, newly nicknamed in his honour.