Speech
Truth emerges from the clash of adverse ideas!
Notes for an address
by Charles Dalfen
Chairman, Canadian Radio-television
and Telecommunications Commission
at the Professional Meetings of the Quebec Recording, Entertainment and Radio
Industry
Montreal, Quebec
March 20th, 2003
(CHECK AGAINST DELIVERY)
Thank you, Jacques (Jacques Primeau, President of ADISQ) for that warm
introduction.
Good evening Ladies and Gentlemen.
Let me begin by thanking all of you at ADISQ for inviting me here. Allow me to
congratulate you on your pivotal role in the development of Quebec music and to
thank you for acting, on occasion, as the industry spokesperson at our
proceedings. Your participation is greatly appreciated and your contribution is
very helpful to us.
It gives me great pleasure to join you at this province-wide meeting, this
unique forum for exchanging new ideas and discussing the major issues of the day.
And there are many.
The success of French-language artists and businesses in recording,
entertainment and radio depends on the various sectors of the industry working
together. This two-day meeting is a good example of the willingness that exists
in Quebec to achieve that success.
Your industries are faced with daunting challenges. These include the illegal
copying of Canadian artists' work without monetary compensation, and the
proliferation on the Internet of international products, which causes serious
revenue losses for the recording and video industries.
But I am convinced that the creative resources of your industries will be able
to find the solutions to these problems. The issue of piracy has been of concern
to me since I first arrived at the Commission. In fact, I have already given my
support to the Coalition against satellite signal theft, and am working to ensure
that everyone's collaboration is fruitful. As well, this morning I met with the
directors of Canada's major broadcast distribution companies to discuss this
issue.
In my opinion, any theft of signal, whether it be video or audio, is a serious
threat to the integrity of the system. While my support of the cause may go
beyond our traditional role as regulator, I believe it is necessary for me to get
involved, from time to time, in order to promote the industries that we regulate.
I would like to take a few moments now to speak with you about the role of the
Commission, particularly with regard to the development of music, Canadian
talent, and the next generation of music.
The role of the CRTC, radio and development funds
The CRTC
First of all, we should keep in mind that all of you are either artists or
working in an artistic environment. I, on the other hand, am a regulator! Our
approaches, while different, can, nevertheless, aim for the same results.
The CRTC's approach is regulatory given that its mandate derives from the
Broadcasting Act set out by the Parliament of Canada. The Commission
interprets the Act and applies its objectives, including that of promoting
Canadian music and talent.
The Broadcasting Act stipulates that:
the programming provided by the Canadian broadcasting system should be
varied and comprehensive, providing a balance of information, enlightenment and
entertainment for men, women and children of all ages, interests and tastes.
(section 3 i)(i))
Programming should seek to reflect the tastes of all Canadians, and speak to
all demographic groups. In that context, the Commission would be concerned if the
musical repertoire of radio stations was likely to become less diversified or if
the access of artists to the radio waves was threatened.
That was a particular concern of the Commission with regard to the transaction
involving Astral Media's purchase of Telemedia's stations in Quebec in 2002. The
decision includes a condition of approval under which Astral must present an
annual report to the Commission on the diversity of the music and Canadian
artists played by Radio Énergie and Rock Détente.
The Commission also asked that the parameters of the report be developed
jointly with ADISQ and the Union des artistes. In view of the Commission's
concern, Astral also made a commitment to inform the CRTC of any concerns or
complaints brought forward by artists or their associations with regard to fair
access to the broadcasting system. And at the hearing that took place in Montréal
last February, ADISQ reiterated the importance of musical diversity on the radio.
Later this year, we will be undertaking a review of our Commercial Radio
Policy. Before beginning this public process, the Commission will publish a
notice specifying the issues and objectives to be examined over the course of
this review. I therefore invite you to watch for that and to participate in the
process. The quality of your interventions will allow the Commission to better
grasp the realities of your industries, so we can promote the development of
French-language commercial radio and its success in the years to come.
In passing, I also invite you, if you haven't already done so, to take a look
at our statistical and financial report on private Canadian radio that was
published earlier this week. We've left several copies at the conference
reception desk.
Radio and assistance funds
Radio plays a fundamental role in the promotion of our artists, their works
and our culture. Artists and producers are the source of the works sold on the
market. But it's the distributors and broadcasters that make them known.
On the one hand, it is essential that our cultural industries be economically
strong and healthy.
On the other hand, broadcasters should also promote up and coming artists and
those that are less well known. Certainly, they do that by making significant
contributions to the development of production and artist promotion funds, such
as MusicAction and the Fonds RadioStar, but they should also do so by playing
their works for Canadian listeners.
You might remember that in 1992, the Commission undertook an exhaustive review
of the development of Canadian talent. Following that, in 1995 it published its
new framework for radio station contributions to the development of Canadian
talent.
Consequently, the Commission approved the plan proposed by the Canadian
Association of Broadcasters that guaranteed 1.8 million dollars annually for
eligible organizations in the context of the renewal of radio station licences. I
note that this objective has been surpassed, particularly in 2001, when the total
was over 2.9 million dollars.
Furthermore, when the Commission released its commercial radio policy in 1998,
it amended the criteria regarding benefits when radio stations are sold, by
requiring that six percent of the value of any transaction be put toward the
development of Canadian talent.
The Commission then announced the creation of Fonds RadioStar, a new Canadian
music marketing and promotion fund that would receive half of that six percent.
Since this policy was adopted to today, the Commission has approved 71
transactions involving 308 radio stations. This has allowed 92.6 million dollars
to be put toward the development of Canadian talent.
Following the release of its commercial radio policy, the Commission approved
the administrative and operating procedures for the Fonds RadioStar. The Fonds'
annual report has just been released. The Commission will pay particular
attention to it to ensure that the Fonds' accomplishments are in keeping with the
objectives and procedures proposed by the CAB and approved by the Commission.
Now, concerning the diversity of musical genres, it is clear that Canadians
have diverse tastes and requirements. To meet them, we have to ensure that the
Canadian broadcasting system offers a wide range of musical genres, including
classical works, alternative rock, jazz and blues.
Francophone Canadian artists are emerging in all regions of our country. We
are aware that more production takes place in the large centres like Montréal,
for economic and other reasons. We therefore have to all work together so that
artists from all regions of Quebec can benefit from opportunities similar to
those in the larger centres. The assistance funds can help regional artists to be
produced, distributed and promoted. And radio allows their work to be broadcast
locally, and throughout the province, the country, and even internationally.
Conclusion
In closing, I must reiterate that we need the collaboration of your industries
in order to meet our artistic and cultural objectives. Hence the title of my
speech: Truth emerges from the clash of adverse ideas.
This quote from John Stuart Mill is meant to be an invitation to exchange
ideas so we can implement regulations that work for everyone. Our public
processes provide you with an opportunity to be heard. And meetings such as
today's open the dialogue!
To all of you, artists, authors, creators, producers, distributors and
broadcasters, I wish you a profitable and interesting meeting, as well as success
with your undertakings. I would also like to offer sincere congratulations to the
winners of the Prix Rencontre.
Thank you, and enjoy the gala!
- 30 -
Contact: Denis Carmel,
Tel.: (819)
997-9403, TDD: (819) 994-0423, Fax: (819) 997-4245
e-Mail:
denis.carmel@crtc.gc.ca
Toll-free #
1-877-249-CRTC (2782)
TDD -
Toll-free # 1-877-909-2782
This document is available in alternative format upon request.
Date Modified: 2003-03-20 |
