Music Publisher Magazine

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ont tell veteran music publisherMark Altman, President of MorningMusic and a CMPA board member,that streaming and subscription-based online music services like Spo-

tify are the key to the well-being and prosperity forhis business going forward. He has seen the road tothe future and it is paved with good intentions andreams of invoice statements with the price of a cof-fee waiting at journeys end.

We have our own U.S. and U.K. company, so Imseeing the results first hand, says Altman. I lookthrough the statements and there are about 15-20lines of data for each song and the sum total is some-thing like .053 cents. You get lines with three or fourdecimal points before you see a number. The bot-tom line is that technology has enabled us to see just

how little money we are getting.A number of Supreme Court rulings in July oflast year more clearly defined the royalty landscapein Canada, at least for the short term. The Court

upheld SOCANs right to collect a royalty on music streamed over the Internet under SOCAN Tariff 22A, which calls for a monthly fee of 6.8 percenof the amounts paid by the subscriber with a minimum fee of 43.3 cents per month, per subscriber

but ruled that transmitting a single copy of a workto a single individual, as with a download, does nofall under the communication to the public rightwithin the Copyright Act.

Mark Jowett, CMPA board member and VP International A&R/Publishing at Nettwerk, has a slightlydifferent take on the subject of financial returnsfrom online services than Altman, in part becauseof his label affiliation. If I wear my Nettwerk MusicGroup hat, which is also my label hat, the streamingrevenues have become very significant for us. In avery short period of time, Spotify has become ou

third biggest source of digital revenue in AmericaBut, the reality at this point is that streaming rev-enues are much better for the labels and for artistthan for writers and publishers; thats something wehope will be addressed.

David Basskin, President

Winter 2013 Vol. 11, No. 2

HEADLINES

Executive Directors

Update

SOCAN looks to CSHFs

future

Christopher J. Reed obit

Lou Ragagnin joins ole as

COO

Bloc Notes writer/artist

launches new album in

France

Sony/ATV writers songs

with Josh Groban, Pitbull

Red Brick Songs signs

slew of new deals

NW1 in Club Roll alliance

SOCANs Paul Spurgeon

looks back on eventful

career

Marty Simons MRD rolls

out PowerScoreLINDI ORTEGA: IN SYNC AND ON THE ROAD: ole/Las

Gang songwriter/artist Lindi Ortega is spending the

first quarter of 2013 on tour, beginning with dates in

Canada and the U.S. and then moving on to the U.K

and Europe. Late last year, Ortega appeared on the

ABC-TV hit series, Nashville, performing the song

Fever To Burn from her current album, Cigarettes

& Truckstops, a result of oles long-term commitmento getting Ortegas music into film and onto TV. It was

one of three songs featured in episodes of the show

Photo: Julie Moe.

P2

P3

Much Ado About Nothing?

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P6

P9

P10

P12

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Online Music Services a boon or bust for publishersand writers?

Music Publisher Canada

ISSN 1705-5563

Published three times per year by

the Canadian Music Publishers

Association

320 56 Wellesley St. W.

Toronto, ON M5S 2S3

By Martin Melhuish

Continues on page 3

P9


2/12 Music Publisher Canada/Winter 2013

Executive Directors update

Ive deleted about half a dozen attempts at opening sen-tences for this report. I was trying to say something orig-inal and inspiring about the vantage point on 2013 thatwe hold in these early days in January, something that MPCreaders would find thought provoking, that would set a tothe barricades tone for the new year. And while I person-ally am feeling uncharacteristically renewed by the changing

of the calendar, I think my problem with sentence creationis that January 1, 2013 is not a significant date for our in-dustryno brilliant new business models launched, no won-derful new copyright decisions, no sudden solutions to abusiness still experiencing cataclysmic change. Usually, thegood thing that can be said about cataclysms is that they arepretty quick, but I think many of us are finding the extendednature of the change process in our business wearing.

So, the challenges of last year continue to be the chal-lenges of this year. That doesnt mean that there hasnt beenprogress, but we still cant look below us to solid ground, exhale,and say, so this is how things are going to be. While there are newproblems to solve daily, we need to haul ourselves up out of them

and use some of our best thoughts toward the big, amorphous prob-lem: how do we convince the general public that music has value?Music used to be the size of an album cover, then the size of a cdcase, then the size of an iPod mini, now its air. We need new props.

Individual songs still break through andbreak hearts, whether old or new, bumusic collectively no longer occupies amuch space between human ears as ionce did. Ive been part of a number oconversations about this question, and think we have made progress in under

standing how and why the perception ovalue has plummeted over the past fewyears. Music used to be cool, now, technology is. Somehow, when we werenpaying attention, while we didnt realize that our cool status was up for grabsapps, games, mobile devices, user generated videos, etc. etc. became the basis ocultural dialogue in the way that peopleused to talk about songs. Of course, thi

isnt to say that songs dont matter, but it is to say that humans nowhave a huge new, shiny range of ways to express themselves. This hacultural implications, business implications, political implications

The new head of SACEM, Jean-Noel Tronc, has described government in Europe as being IT mesmerized.

The weakness with the IT mesmerized world is that at somepoint, governments will realize that years of legislation and markesupport for technology at the expense of content will mean that theshiny devices will be all dressed up with nowhere to go, that is, therewill be no content worth hearing, or seeing, or playing, if there areno business models to encourage the development of content andlaws to protect it. Part of the challenge in solving this problem is thamyriad sectors of the music industry seem to have trouble recognizing our common ground. All of the sectors of the music industry arcontent enterprises, regardless of what our particular roles might be

in creating that content, and we need to start thinking cohesivelyThis point has been recognized by more and more of us, but actualizing it is still problematic. However, the more we can say the samething about the value of music, the importance of copyright, theneed for forward thinking public policy and industrial support, theinnovation of efficient systems and infrastructure, the faster we canstand on that solid ground.

Like many of you, I have come back to my office to start bookingflights and planning meetings for a number of conferences in themonths ahead. I hope I will get to see you in Cannes, in Toronto(welcome, FolkAlliance!), Regina, Vancouver, Washington, and soon. I am resolving to try and see the conversations I will be havingthrough a lens of commonality. I am keen to see if we can improve

our value proposition, our creativity, our efficiency, our transparencytogether. Perhaps when I write this report in January 2014 I will beable to rejoice in dramatic, positive change for the music industry.

320 56 Wellesley St. W., Toronto, ON M5S 2S3

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www.musicpublishercanada.ca

Music Publisher Canada is a membership benefit for members of

the Canadian Music Publishers Association. It is intended to inform

music publishers and other interested readers about the activities

and issues surrounding music publishing in Canada. The opinions

expressed herein are not necessarily those of the publisher.

2013 All rights reserved.

Editorial comments to [email protected]

PublisherCatharine Saxberg

EditorMartin Melhuish

Page layoutChris Jones

CMPA Communications CommitteeVivian Barclay (Warner Chappell Music Canada Ltd.)

Jodie Ferneyhough (CCS Rights Management)

Gary Furniss (Sony/ATV Music Publishing Canada)

Elisabeth Bihl (Canadian Music Centre)

Tony Tobias (Pangaea Media & Music Inc.)

Music Publisher Canada acknowledges the financial support of

Catharine Saxberg

JOIN CMPA! If you own music copyrightsyou should be a member of the Canadian Music Publishers

Association (CMPA). We are the voice of music publishing in

Canada. We promote and protect the interests of Canadian

music publishers and creators. For more information contact

Catharine Saxberg at [email protected] You can find

our website at www.musicpublishercanada.ca


3/12Music Publisher Canada/Winter 2013

Calculation of online royalties beyond complicatedContinued from page 11

and CEO of the CMRRA, who in late 2007oversaw the first distribution by CMRRA-SO-DRAC Inc. (CSI) of reproduction royaltiesfrom online music services, agrees: It is sad-ly the case that the compensation of song-writers and publishers is so much lower. I

would love to see it changed and thats whatwe have been working towards for years, butthe fight goes on

The one commonality with online musicservices seems to be that none of them de-liver a single cent per song play. In the fall oflast year, Josh Davison, Tech Lead at the digi-tal media planning firm, Centro, in Chicagoand a member of the group, Parks and Gar-dens, revealed on twitter that the paymentthey receive for a song stream on Spotify isUS$0.00966947678815. On iTune Match itsUS$0.0330526797710.

By comparison, web developer Scott Bus-cemi, during that same period, reportedthat his client Honey Boy Duprees per-stream earnings were US$0.003424338 fromiTunes Match, US$0.0091 from Rhapsody,US$0.000921014 from Spotify Free (Ad Sup-ported) and US$0.007191596 from Spotify(Subscription Mobile).

When Rolling Stone magazine put thespotlight on the new economics of the mu-sic industry, unable to find any definitivesource of information on royalty rates for

streaming, the magazine went with a quickcalculation by an unidentified band man-ager. The subsequent revelation was that ona song streamed 60 times from a subscrip-tion service like Spotify, MOG and Rdio, the

label and the recording artist, depending oncontract terms, split 38 cents while the song-writer received 9 cents.

In that same Rolling Stone piece, JeffPrice, co-founder and former CEO ofTuneCore and a pioneer of the new musicbusiness model, weighed in on the com-

plexity of the calculations involved. It isbeyond complicated, said Price, who re-cently began collaborating with SOCAN ona number of initiatives that would benefitthe organizations membership. It tookme literally three months to understandthis thing, Each service has to run literallyfive formulas each month on calculationnumber one, they have Subsection NumberOne and Subsection Number Two. Theythrow out the higher of those and thencompare that one against the other three.After that, they have to run this formula

five different times.Spotify, and a number of other online

music services are not in Canada yet, be-cause, in part, they have been unable toreach an agreement with CSI. There isRdio, which is a good service, but it meansvery little on a revenue level, Mark Jowettpoints out. Theres Deezer, which is alsoa streaming service somewhat like Rdio,which went into all the markets that Spo-tify wasnt, including Brazil, Canada andGermany. I think Spotify, which is not in

Canada yet, is in Brazil and Germany now.Pandora is not here either because theycouldnt come to a rights agreement withCSI. Rhapsody is here. It used to have moreimpact, but now its very inconsequential.

In Canada, its really about Rdio and YouTube and YouTube would generate moreincome than Rdio at this point. Outside oCanada, Spotify dwarfs Rdio, but YouTubeis also very significant.

And what are the prospects of a Canadian presence for Spotify and the other hold

outs? We are still in very intermittent discussions with Spotify, but we have yet to arriveat mutually agreeable terms, explains DavidBasskin. But we have had discussions withmany, if not all of the foreign services whichare not presently operating in Canada, andwe have answered many queries regardingour tariffs and licensing policies. Howeverto say that any of those services have theireyes on Canada at the moment would beconjecture on our part. While none of thoseservices have ever said, Were not coming toCanada, and thats that! none of them have

shared their launch plans, if any, with us andnone of them, including Amazon, GoogleSpotify or Pandora, have made any formaannouncements.

Spotifys revenue, I think, is doubling every two months and is becoming very significant... and, its a fantastic user experience,says Mark Jowett. If the publishers can fighto get more of that revenue, then I think ibodes well for the industry as a whole. I thinkwe all want to encourage that digital growthIts an exciting time in that way.

SUBSCRIPTION SERVICES IN CANADA: BBM Music, Deezer, eMusic, GalaxieMusic Unlimited, Rara.com, Rdio, Siren Music, Slacker, Songza, Telus, The Vault, VevoXbox Music, YouTube and Zik.

Early last year, SOCAN acquired the assets of the Canadian Songwriters Hall of Fame (CSHF) andannounced it was committed to putting the organization and its popular annual induction cer-emony on a more solid footing. The transition period of the past year has been about the cre-ation of a new governance structure at CSHF, explains SOCAN Chief Financial Officer David Wood, who

indicates that this year the induction Gala, a daunting undertaking, will likely be postponed in favour ofgetting some other initiatives up and running.Going forward, Wood says there are four main things that SOCAN wants to focus on: the induction

ceremony, in a format yet to be decided; the online presence, which would see the two current Websitespopulated with more content and rebuilt without Flash so that they can work on Apps; the establishmentof a physical Hall of Fame in partnership with the National Music Centre in Calgary, a relationship yet tobe formalized, and the development and launch of an educational program that would have a presencein schools across Canada.

The new board of directors will include CSHFs founding partners, Canadian Music Publishers As-sociation (CMPA) and Songwriters Association of Canada (SAC) along with 10 others including fourdirectors from SOCAN, one each from APEM and SPACQ, a representative from a record company andthree random independents. The two big things have been music industry inclusivity and balancing thegovernance, says Wood. With just two-thirds of the board now in place, we have eight directors thatequally represent SOCAN and non-SOCAN members, publishers and writers, French and English.

CSHF settling in as part of the SOCAN family

SOCAN CFO David Wood



Christopher J. Reed, Founder and President of Intermde Music, passed away in the latesummer of last year at his home in the Dominican Republic. He was 61.

Reed, who was born in London, England, came to Canada in the late 60s settling inQubec where, in 1973, he founded les ditions Intermde Inc. In subsequent years,

the company would work with some of the top artists in the province including GillesVigneault, Robert Charlebois, Jean-Pierre Ferland, Diane Tell, Sylvain Lelivre and Jim Corcoran.

Reed, who was a founding member of lADISQ, also co-founded lAssociation des professionnelsde ldition musicale (APEM)/the Professional Music Publisher`s Association (PMPA) with a num-ber of other independent music publishers in Qubec. He served on the Board of Directors of theassociation as Vice-President from May 2002 to May 2011. He was named an Honorary Member ofAPEM/PMPA in May 2010.

Christopher J. Reed, a pillar of the Qubec music publishingindustry, passes away at age 61

CMPA board member Diane Pi(Bloc-Notes Music Publishing) Christopher J. Reed.

CMPA Executive Director Catharine Saxberg (l) and ICMPs Coco Carmona,Legal and Regulatory Affairs, met a number of members of the EuropeanParliament late last year to discuss copyright. They are seen here withPortuguese Representative, Patrao Neves.

All of the songs and compositions that SOCAN

administers are now available online to anyone

who visits the organizations website and clicks

on the Search public repertoire field on the top right

of the page.

As SOCAN notes: Want to find out who owns the

copyright to the song you plan to use in your movie?

Looking for the music publisher of an old Canadian hitsong? Or just want to settle a bet about which song-

writer collaborated with the artist to create that hit

single? Now you can...

In the last issue of Music Publisher Canada, we talked abouthe renovations going on at the Canadian Music Centre

which occupies the venerable and architecturally-distinctive Chalmers House at 20 St. Joseph Street in Toronto. Thework is complete, and much to the delight of CMC ExecutiveDirector Elisabeth Bihl and staff, a brand new functional performance and meeting space has been created alongside theexisting library. This is a picture of that multi-purpose community space for meetings, event hosting, concerts, rehearsals, aCD boutique and a sound recording facility to record performances, podcasts and interviews.

CMC renovation brings new performance and meeting space



Warner/Chappell Music Canada GM Vivian Barclaywas in Haiti late last year to work with Habitat for

Humanitys Jimmy & Rosalynn Carter Work Proj-ect building houses in the area of the country devastated byearthquakes. When the earthquake happened in Haiti, that

hit really close to home, Barclayrecently told samaritanmag.comI was born in Canada, but grewup in Jamaica and Haiti is closeto Jamaica. In your mind, as everybody does, youre like: Whacan I do to help? I started to do-nate money, but I also felt that Iwanted to do some more... [The

first year I was there] we completed 100 homes in seven daysin a community called Santo inLogne, Haiti, which was at [theearthquakes epicenter]. It hadbeen almost two years since theearthquake and 400,000 peoplewere still living in tents. This yearits three years after the fact andthere are probably just under3000,000 people in tents. Bar-clay (r) is pictured with Rosiannestanding in the door of her new

home that she helped build withthe volunteers.

ole welcomes accomplishedexecutive Lou Ragagnin tothe company as COO

Former Canadian Olympic Committee

and 100th Grey Cup Chief Operating

Officer Lou Ragagnin will join ole as

COO in late January. Ragagnin, who will be

located in Toronto and report to ole Chair-

man and CEO, Robert Ott, will be responsible

for the tactical execution of the annual and

long-term company business plans and the

day-to-day managing, executing and enhanc-

ing of all internal operational processes and

infrastructure.

Ragagnin, who is a Chartered Accountant and holds a Bach-

elor of Business Administration Degree (Honours) from the

Schulich School of Business, York University, most recently

demonstrated his leadership ability as President and COO for

the 100th Grey Cup Festival this year in Toronto where he was

responsible for the development and implementation of the

strategic and operational plans for the very successful and ex-

citing Grey Cup Game and associated Grey Cup Festival. Previ-

ously, as COO for the Canadian Olympic Committee, Ragagnin

was responsible for overall operations of the organization.

An experienced senior executive with a track record of de-

livering outstanding results in diverse situations and industries,

Lou Ragagnin has proven himself to be equally adept at develop-

ing corporate strategy and ensuring that action-oriented and de-

tailed business plans align to deliver desired results, ole notes.

Warner/Chappells Vivian Barclay:bringing hope to Haiti one houseat a time

The Unison Benevolent Fund is a non-profit organization that provides counselling, emergency relief,and benefit programs for those in the Canadian music community who face personal or professionalchallenges due to hardship, illness, unemployment or economic difficulties. Unison is not membershipbased. There are no registration fees or membership dues. However, Unison is asking that everyone in themusic community register online.

Even though you may never need to access the fund, Unison is working on initiatives that will help themusic community as a whole, says Sheila Hamilton, Executive Director of the Fund. Registering with Unison

helps in two ways: with greater numbers Unison will be able to negotiate better discounts and services, plusit allows Unison to communicate to more people in the community and ask them to help spread the wordabout Unison.

Registration information is kept strictly confidential and will not be sold or given to anyone else, ever. Visitwww.unisonfund.ca to register now.

Unison ask for music community to register online

Sheila Hamilton

Internationally renowned Canadian pianist Glenn Goulds is on the list of luminaries named as

recipients of the Recording Academys Lifetime Achievement Award. Gould will be honoured

with six other artistes at a special invitation-only ceremony held during GRAMMY Week

on Saturday, Feb. 9, 2013, and a formal acknowledgment will be made during the 55th Annual

GRAMMY Awards in Los Angeles on Sunday, Feb. 10, 2013. Stephen Posen, Goulds long-time

friend and the Sole Executor of the Glenn Gould Estate will be attending the ceremonies to ac-

cept the award. We are very excited and honoured to be receiving this, says Jodie Ferneyhough,

IP Manager for the Gould Estate and President of CMPA. As part of the celebrations of Goulds

legacy, Sony Classics has issued an array of Glenn Gould Anniversary releases, celebrating what

would have been the great pianists 80th birthday year, and 30th anniversary of his death.

Lifetime Achievement

Grammy for Gould



Publisher

NewsPublisher

NewsBloc Notes writer/artist Roch Voisinelaunches new album in France

Tom Wilson releasesnew Lee HarveyOsmond album

On February 18, Bloc Notes Music Publishing writer/artist Roch Voisine, who hassold more than 11 million albums worldwide, will launch his new album Duopho-nique in France. He reprises 12 of his best-known songs with the Philarmonique

Orchestra of Prague under the direction of Qubecois, Marc Ouellette, with arrangementsby Ouellette, JF Berger and Charlot Barbeau. Featured artists include Coeur de Pirate (He-lene), Isabelle Boulay (La berceuse du petit diable), Patrick Fiori (Je resterai l) andVronic DiCaire (Avant de partir). A Qubec version of the album will be released inautumn 2013.

Voisine will tour Qubec through January, February and early March to present his new greatest hits show, Confidences.The second leg of the tour will be in Europe in April 2013 with fifteen shows in several cities in France, Switzerland andBelgium. In the fall of 2013, Voisine returns for a Canadian tour at which time he will release a new album with all of hisEnglish hits and three new titles. Finally, the year 2013 will end with part three of the Confidences tour in Europe.

In other Bloc Notes Music news, the company and writer Fred St Gelais were involved with two SOCAN Awards for thebest songs of the year including Comme Avant by Marie Mai, written by Mai, St Gelais and Rob Wells and Si on change-ait by M. Bachand, Marc Dupr, Marie Mai and St Gelais.

S

ony/ATV songwriter/artist Tom

Wilson, founding member of Junk

house and Juno Award- winning

Blackie & The Rodeo Kings, returns witha new album from his acid-folk group

Lee Harvey Osmond. The Folk Sinner

released January 15th through Laten

Recordings, features collaborations with

Hawksley Workman, Margo Timmins, Oh

Susanna, Astrid Young and fellow BARK

member Colin Linden, as well as mem

bers of the Skydiggers, Junkhouse and

The Sadies. Tom recently co-wrote severa

songs for Colin James latest album Fifteen

(Maple) and is touring North America

throughout 2013.

Glenn Morrison, The Parachute Clubsign with Sony/ATV

Sony/ATV Music Publishing Canada has signed Glenn Morrison and TheParachute Club. Glenn Morrison is an internationally-renowned DJ, producer and songwriter who has toured with David Guetta, Tiesto and Armin van Buuren, among others. Morrisons music has topped the World DancCharts and has been featured in several video games including Diablo II andMidnight Club 3: Dub Edition. Morrison is currently writing for his upcom

ing album release with Robbins Entertainment/SME, whose previous releaseinclude Cascada and Afrojack. Sony/ATV has also signed an administrationagreement with The Parachute Club, whose songs include the Top 10 hit RiseUp, At The Feet Of The Moon and Love Is Fire.

Multi-platinum recording artist and Gram-

my Award-winner Josh Groban recentlyreleased his first new single Brave,

co-written by Sony/ATV Music Publishing Canada

songwriters Thomas Tawgs Salter and Chantal

Kreviazuk. Tawgs co-wrote five more songs with

Groban for the upcoming album, All That Echoes

(Warner/Reprise) set for release February 5, 2013.

Kreviazuk, who also co-wrote Over My Dead

Body for Drakes platinum-selling album, Take

Care (Cash Money/Universal), recently co-wrote

Feel This Moment recorded by multi-platinum

artist Pitbull, featuring Christina Aguilera from his

new album Global Warming (RCA)

Sony/ATV: Songs withJosh Groban, Pitbull

Glenn MorrisonPhoto: John Wright

(l-r) Frederic Forget; Roch Voisine; DianePresident of Bloc Notes Music PublishinMarion Bec.

Chantal Kreviazuk



Sony/ATV songwriter/producer Rob Wells (far right) re-cently co-wrote at Sony/ATVs Toronto office with RandyBachman and multiple Grammy Award-winner and Uni-versal artist Melanie Fiona for upcoming projects, at theSony/ATV offices.

Bachman, Wells and Fiona in writingsessions at Sony/ATV offices

peermusic writers/artists The Tragically Hip hadtheir 13th studio album entitled Now For Plan A and

produced by Gavin Brown (Metric, Billy Talent, Three

Days Grace) released worldwide last October with the

first single, At Transformation, quickly reaching #1

at Canadian Rock Radio. The band, which was recently

inducted into The Edge 102.1 FM Hall of Fame the

first Canadian band to receive this honour have been

touring North America in support of the record and

will continue with a Canadian arena tour in early 2013

and a full European tour in the summer. In addition to

the recent album, The Hip have released the live DVD

Bobcaygeon, which peermusic notes, truly showcases

the power of their live performance.

peermusic signs deals with Music SalesGroup, SQE Music

peermusic has expanded its relation-ship with Music Sales Group, with an

administration deal for Canada. Music

Sales is one of the larg-

est independent musicpublishers with an

incredible catalogue of

popular and classical

music. Within the pop-

ular catalogue are such

hits as Diamonds Are

A Girls Best Friend

and Tainted Love.

The classical catalogue

represents some of the current leading

composers as well as the classics of the

20th Century. peermusic has also signed a

worldwide ex-U.S.A. deal with SQE Music.

The SQE catalogue represents the entire works of Broken Social Scene

founding member Brendan Canning and a variety of up and coming art-

ists from the around the world.

Plan A is touring for peermusicwriter/artists The Tragically Hip

ole has extended its Canadian sub-publishing deal with the worlds num-ber one non-fiction media company, Discovery Communications. DiscoveryStudios Music Services is the operational unit of the company working withole to continue maximizing the value of the companys publishing catalogole has been an extremely collaborative and effective partner for Discoveryand we look forward to continuing this relationship to allow Discovery tocontinue delivering the highest quality content that satisfies curiosity forviewers around the world, said Gary Ford, Vice President, Global MusicServices, Discovery Communications.

Discovery Communications extendspublishing administration deal with ole

Tragically Hip

ArthurMacArthur

Grammy Award-winning producer/artist/songwriter Timbaland, with whom ole signed a music publishingcatalog acquisition and multi-year worldwide publishing administration deal on future songs last year, kicks offthe New Year with a hit as co-writer and co-producer of the Justin Timberlake single, Suit & Tie. The song,which is from Timberlakes upcoming third studio album, The 20/20 Experience, his first in six years, featuresa guest appearance by rapper Jay-Z as well as vocals by Timbaland. Notably, the new MySpace site, of whichTimberlake is a co-owner, launched with an offer to potential registrants to freely stream the new single.

JT and ole Writer/Producer TimbalandCreate Buzz with Suit & Tie

Brendan Canning

ole writer/producer/artist Timbaland(centre) with olesChad Richardson (l)and David Weitzman at

oles Los Angeles ofce.Photo: Julie Moe.



Publisher

NewsPublisher

Cordova Bay Music Publishing artist Steph Macpherson branched out with the release of her critically-ac-

claimed, debut album, Bells & Whistles, in the U.S. on January 15. In support of the release Macpherson and

her band set off on a two-week tour down the West Coast. Among the many shows booked, one of the high-

lights will be a special invite-only showcase with Jason Plumb at the famous Hotel Caf in Los Angeles for Hollywood

music supervisors. Cordova Bay notes, Stephs knack for thoughtful lyrics and catchy melodies will no doubt be a fit

for film and TV.

Canadian band Acres of Lions are back from a successful tour in the U.K. where they released

their latest album Collections through famed U.K. indie, Fierce Panda. Upon arriving home, the

band went straight into the studio with Toronto producer Brian Moncarz (Moneen, The Reason,

Neverending White Lights) to start work on a brand new release due out in early spring on

Cordova Bay Records.

MapleMusic Publishing and Adam King, a successful songwriter/producer/engi-neer, have signed a co-publishing agreement. King has previously won a JunoAward for his work with The Good Lovelies. Other credits include Royal Wood,

Hannah Georgas, Jill Barber, iSh, Eva Avila, Ali Slaight and Cider Sky, among others. AdamKing (Songs Of MapleMusic Publishing) was recently recognized with a RIAA certifiedGold plaque for his contributions to the song Northern Lights (Cider Sky) as it was fea-tured in the film and soundtrack for The Twilight Saga: Breaking Dawn.

MapleMusic, Adam King in co-pub agreement

Over the past year, MapleMusic Publishing/Atomic Boogie Music has had a string of sync successes with Flash Lightnins songs ap-

pearing in movie trailers for Thor, Sherlock Holmes 2: Game of Shadows, Lawless and The Last Stand. Candy Coated Killahzs Tasha

Schumann recorded a song and landed a brief cameo in the upcoming film, Cobu, starring Derek Hough and BoA, that was shot in

Toronto. Juno-nominated Royal Wood continues his impressive songwriting output with his new album We Were Born To Glory. Wood also

remains a sync mainstay with his songs featured in Flashpoint, Lost Girl, Ringer, Being Human, Rookie Blue, Made In Jersey and Cracked.

Heavy sync activity for MapleMusic/Atomic Boogie writers/artists

Anumber of Third Side Music writer/artists including Grasscut, Two Fingers and The Death

Set have recently been heard in some quality ad campaigns. Grasscut, the underground

psych-electronic-folk duo which features Award-winning composer of music for film

and TV, Andrew Phillips, had their composition The Lights, used in K-Mart holiday ads in De-

cember. Two Fingers Fools Rhythm, which was included in Ninja Tunes 20th anniversary XX

box set, proved to be the perfect fit for the 2012 BMW 3 Series xDrive Corners Campaign while

The Death Set from Brooklyn, New York, who were praised by NME as the #1 biggest hope of

the future, were heard in an ad for the Google Chrome Book computer with the composition,

Negative Thinking, which has been characterized as the timeless call-to-upraise-arms.

In other news, TSM has partnered with Cumbancha, a record label, booking agency and

music publisher founded by Jacob Edgar, an Ethnomusicologist and music producer who, since 1998, has been the head of music research

and product development at famed independent record label, Putumayo World Music. TSM indicates that it is their goal to bring some

of the most captivating music from around the world to a big or small screen near you! The Cumbancha catalogue includes world music

luminaries like Bombino, Luis Maita, the Sierra Leone Refuge All-Stars and Sarazino.

TSM has moved in with sister company Ninja Tunes in Los Angeles. The address is 1030 N. Alvarado Street, Unit 102, Los Angeles, CA

90026 (213) 484-8720

Third Side Music: Quality sync licenses forwriters, Cumbancha partnership

Cordova Bay: Steph Macpherson showcases, Acres of Lions record

StephMacpherson

Adam King in his sdio with Gold recoPhoto: Joel Stouffer.



Simon Wilcox

It has been a busy yearfor peermusic writer/artistSimon Wilcox and 2013 doesnot look like its slowing down.

Wilcoxs collaboration with artist

Josh Groban (Warner) has landed

the song Below The Line on hisupcoming album All That Echoes,

as well the single Give Me Your

Hand by The Ready Set (Warner)

is Top 30 and climbing the U.S.

Top 40 radio charts. Wilcox has

several other songs coming out in

2013 including with Walk Off The

Earth (Sony) and is continuing to

write in U.S., U.K. and Canada.

R

ed Brick Songs, a Canadian publishing company led by JenniferMitchell, who is also President of Casablanca Media Publishing,ended 2012 with a number of new deals:

Sub-publishing deals include those with the Lenono and Ono cata-logues, encompassing the works of legendary songwriter and Beatle, JohnLennon, including Imagine, Xmas Song (War is Over), Beautiful Boy(Darling Boy), Instant Karma! (We All Shine On), Jealous Guy and OhYoko! with Budde Music Inc. and Budde Songs,Inc., which includes the hits Forever Young andBig In Japan by Alphaville, among many others with the publishing arm of U.K.- based, legend-ary record indie label, Cooking Vinyl and withConcord Music Group, Inc., which includes clas-sic songs by John Fogerty, Miles Davis, John Col-trane, John Lee Hooker, Sonny Rollins among

many others.Worldwide co-publishing deals include those with Alt-Country, Canadian

band, Cuff The Duke, through a joint venture with Toronto indie label, Pa-per Bag Records (with more signings to come!) with Chicago-based, indie-pop band, On An On (except for Europe), whose debut album Give In willbe released in North America on January 29th on Roll Call Records and inEurope on March 4th on City Slang with Field Mouse, a Brooklyn-based,dream pop band, known for their lush sonic textures and harmonies andwith Library Voices, a Canadian, energetic indie-pop band from Regina,Saskatchewan.

peermusic writer/artist Kathleen Edwards album Voyageu

has been the top of several Best of 2012 lists including

Spins 50 Best Album with Change The Sheets topping

Spins Best Songs of 2012. Voyageur was also nominated

for the prestigious Polaris Prize, and Kathleen won the

SOCAN songwriting competition with her song A Soft

Place to Land.

Red Brick Songs heads into NewYear with slew of new deals

NWI in Club Roll alliance,acquires rights for West Mor-

raine catalogue

Nettwerk One Music has formed a strategic publish-

ing alliance with the recently-launched, Montral

based independent record label, Club Roll Music

Nettwerk One will actively promote and administer Club

Rolls publishing properties, worldwide. Its really refresh-

ing to see what Club Roll is going to accomplish, says Mark

Jowett, Nettwerks Vice-President of International A&R/Pub

lishing. Nettwerk One has identified Club Roll as a purveyo

of excellent music that is uniquely flavored and stylistically

different, that will nicely compliment NW1s roster of synch

and licensing content. Club Rolls

experience in, and understanding of

the evolving indie music landscape

as well as the labels direct connec-

tion to artists, are all characteris

tics that illustrate it as a channel o

valuable intellectual property. Club

Roll, which was founded by Lenny

Levine, Dan Seligman, Hilary Leftick

and Shaun Bronstein, is distributed

by Universal Music Canada.

In other NW1 news, the com

pany has taken over the rights for

the West Morraine catalogue, whichcontains a major interest in many

key Johnny Reid songs.Simon Wilcoxmaintains busywriting schedule



In retirement, SOCANs Paul Spurgeon leaves legacy of passionateadvocacy and financial growth

As Paul Spurgeon, long-timeVP, Legal Services & GeneralCounsel at SOCAN, retired inDecember of last year, there

was a general sense that cre-ators, and those that advocate on their be-half, were losing one of the leading lightsin the ongoing battle for fair compensationfor their work.

Spurgeon joined CAPAC, one of SO-

CANs predecessors, in 1978 as Legal Coun-sel and was involved in the merger of CAPACand PROCAN, which emerged as SOCAN in1990. During his time with CAPAC/SOCAN,the growth of performing rights royalty in-come rose from approximately $25 millionin 1977 (CAPAC/PROCAN figures com-bined) to over a quarter of a billion dollars($261.5 million) in 2011, the last SOCANfinancial report available. That was a directresult of the tariffs that lawyers like Spur-geon had to fight for before the Copyright

Board and negotiate.Im proud of the fact that I played a partin getting tariffs that allowed us to distributethat money, says Spurgeon, who was electedto the Legal Committee of CISAC in the late80s and has also served that organization asChair and Vice-Chair. In the future, I thinkthere will be continued growth as more andmore windows of access open up. When anew use comes along, we file a tariff or aset of tariffs as we keep abreast of new tech-nologies.

Spurgeon points out that because of the

Copyright Act, initially, cable and satellitetelevision couldnt be licensed. We had toget the law changed, which we did, and thenwe had to go before the Copyright Board

and justify a tariff. They said that it wasnt amusical work that was being communicated,it was something else. We started the processin the late 80s, we got the law changed inthe early 90s and then the proceeding toset the tariff started and didnt conclude un-

til the late 90s. We then got all thismoney because cable had to pay usretroactively and it was in the millionsof dollars.

Spurgeon believes that SOCANwas the first society in the world to filea tariff for Internet transmission of

music. That was in 1995, before Nap-ster and illegal, or even legal, down-loading. We didnt know who was outthere, so we thought we would getthe money from the ISPs and figuredthree percent of their revenue wasfair. Of course, they said, No way! Weare just a dumb pipe. We went all theway to the Supreme Court and theyagreed with them. They said, Yes, theyare dumb pipes, but they will be liableif they do more than just provide the

means necessary for somebody else to com-municate the music. They told us [SOCAN]to go after the people who are providing thecontent to them. So, we opened the door.

It wasnt long before the Internet washome to a large number of portals formusic illegal and legal with sites for

downloading or streaming, and more. Con-tinues Spurgeon, We went before the Boardand told them we wanted a tariff for all theseuses, including ringtones. We subsequentlygot Tariff 22 for that purpose. The Board settariffs, not for everything, but basically forwhat we requested.

The tariff survived appeals to both theFederal Court and the Supreme Court. Buttheres always another day and another bat-tle. Last year, it was the matter of paymenton the download of tunes. We got to theSupreme Court on July 12 and we lost,

says Spurgeon. In a deeply-divided Cour(5-4), they said we cant get any money forthe transmission in a download. We totallydisagree with that. This is not the end of i

because the Copyright Act was amended onNovember 7 of last year and created a Making Available Right. Our view is that this allows us to license works whether its a download or whether its a stream. We think thaamendment will change things and, righnow, were in a proceeding where the ringtone people are asking for all of their moneyback and they dont want to pay anymoreWe are going to go back to the Board andsay, Not only do we think that isnt correctwe now want money for downloads again.

Spurgeon acknowledges that the Inter

net has brought about a lot of change but hereckons that nothing has changed with regard to the fact that users dont want to payor, rather, they dont want to pay as much athe rights holders think their music is worthTheres a continual tension that has existedbetween the copyright owners and the copyright users, Spurgeon says. Now there ian additional third element in this mix andthat is the consumer. Consumers have beeninvolved in this because they are kind of waking up. Why? Because every consumer is on

the Internet and because of the easy accessthey think music is free.

Spurgeons enthusiasm for the fight mayhave something to do with the fact that he iactually a card-carrying member of the musicians union as a drummer/percussioniswith a particular affinity for the vibraphone

which he says he intends to pursue furthernow that he has opened up some personatime for himself. Along the way, he did someprivate studies with drummer Graham Lear(Gino Vannelli, Santana). It wasnt until thelate 80s that he stopped playing with anyregularity.

Ive taken a lot of this stuff personallybecause I believe in the cause that we fighfor here every day in ensuring that creatorsrights are protected, he states. That meanswe have to have tariffs that work and stronglaws and treaties. Going forward, its going

By Martin Melhuish

Theres a continual tension that has existed between the copyrightowners and the copyright users. Now there is an additional thirdelement in this mix and that is the consumer. Paul Spurgeon

Paul Spurgeon



to require some real focus and a holistic viewpoint.Publishers, who wear many hats here in Canada, havea vital part to play with creators, who need the busi-ness-sense they can provide.

Creators need the advocacy we have providedhere at SOCAN. Money is the key thing. Creators andthe advocates for the rights of creators have to keepfighting and never give up. We have to be proactiveand not merely defensive. Weve got to be prudent

and not overreach. Its a very delicate balance. Thereare going to be a lot of challenges in the future andIm wishing the best to all those that take over thatfight in the best interest of the creators and publish-ers. They deserve to be compensated for what theydo.

On Spurgeons retirement, no going away partywas thrown by the Canadian Association of Broad-casters (CAB), though you would imagine that theywould have been very happy to wish him a fond fare-well. But, Spurgeon says he did get some nice cardsfrom a number of lawyers that he had faced on theother side over the years and, with a grin, quotes a

line from Shakespeares Taming of the Shrew: ...and do as adversaries do in law, strive mightily, buteat and drink as friends.

(King Kong, The Hunger Games, Batman Begins, Sixth Sense) and AlexandreDesplat (Argo, The Kings Speech, Harry Potter and the Deathly Hallows: Part I& II, The Twilight Saga: New Moon), among others.

Simons aforementioned Grammy association this year comes with the trackAshamed, that is heard on Rick Ross nominated Rap album, God Forgives,

Dont, which debuted at #1 on Billboard in the summer of last year. From starto finish, the Ross track, for which Simon is given a credit, freely references thesong Shameless that Simon co-wrote for Wilson Pickett more than 32 years agowhile he was recording with Pickett at Andre Perrys Le Studio complex in MorinHeights, Qubec.

As a drummer and songwriter, Simon has jammed with Jimi Hendrix, openedfor The Who he still considers Pete Townshend a friend co-written a hit forCeline Dion in French (Les mots qui sonnent) and composed and publishedmusic for more than 25 films. Given those experiences, and many more, youdthink that the Rick Ross Grammy association would be taken in stride. Youd beright, except for a once-in-a-lifetime moment that one can only share with a sonor a daughter who thinks youre a bit of a troglodyte when it comes to musicataste.

I went to my son and said: Have you ever heard of this? referring to theRick Ross record and he says, Dad! I bought the record! I said, Thats me! Implaying the drums on it and I wrote the bass line! Priceless!

Simons Shameless Grammy associationContinued from page 12

BS Productions the new action stationfor Barbara Sedun

B

arbara Sedun, who

spent 17 years with

EMI Music Publishing

between 1991 and 2007 and

then returned as Senior Vice

President, EMI Music Publish-

ing in 2009, recently founded

BS Productions, an umbrella

company for many of her on-

going musical endeavours.

Among them is her work with

the Toronto duo Len, with

whom she has a long history

and Ottawa-based country

artist, Jordan McIntosh; mu-

sic supervision on the new TV

series, Rogue and an artist de-

velopment project with a young girl group named Sparkle on which she is work

with former Canadian Idol judge, Zack Werner, who is a rock performer in his ow

right. Sedun, who has been a board member at the Canadian Songwriters Hall

Fame and Manager of Music Programs for Manitoba Film and Music, continues w

her music network group known as BS Fridays, the details of which you can acc

through the facebook page of the same name.

transmission: GLOBALSUMMIT set for April9-12, 2013 in Vancouver

An expanded-capacity transmission:GLOBAL SUMMIT is scheduled forApril 9-12, 2013 in Vancouver as the

popular conference, in which CMPA has beena long-time partner, gets ready to welcome 500leaders, creators, entrepreneurs and academ-ics from across the globe. As usual, conferenceorganizer Tyl Van Toorn has set an ambitiousagenda paired with fine local food and amaz-ing B.C. wine. Registration for tGS is limited to500 participants to ensure broad, cross-industryrepresentation. The 2013 program comprisesthree groups of activities including transmit-

TALKS, a series of keynotes, workshops, sym-posia and B2B activity. transmitFORGE is aninternational venture development programproviding mentorship, model improvementand network expansion of opportunities forfunding, capacity building and increased mar-ket share. transmitLIVE is a curated, multi-dis-ciplinary showcase of creators and their workfrom around the globe. For further informa-tion regarding transmission: GLOBAL SUM-MIT 2013, visit www.transmitnow.com


12/12

2013 Looking To Be A PowerScore Year For MRDs MartySimon

With a Golden Globe win, three Oscar nominations anda British Academy Film Award nomination for his com-poser clients and a song on a Grammy-nominated albumfor himself, it has been a stellar start to a year already bursting withpromise for Montral-born Marty Simon, the founding director of

MRD Music Revenue Data Inc.The company, which administers publishing catalogues and

provides composer royalty management services worldwide for hun-dreds of film and TV programs, is ready to consolidate the roll-outof PowerScore, intriguingly subtitled BrainPowerfor film and TV music scores.

The simplest explanation of PowerScore is thatcollection societies pay rights holders based on TVbroadcast Data; PowerScore provides composers andmusic publishers with new tools, starting with exactTV broadcast data, to reconcile those payments.

I was composing movie scores for Canadian andU.S. companies and studied the royalty statements

as a composer and often as a publisher of thesefilm and TV projects in order to ensure control ofmy works and timely payments of my royalties, saysSimon, whose large office desk doubles as a creativeand business centre with a keyboard and ProToolson one side and his computer set-up on the other.There were no services to answer some of the issuesI was finding and, shockingly, little data knowledge,so I started a company to address film and TV musicroyalty collections. The idea for PowerScore hitabout three years ago when the doors of Hollywoodwere opening up for us. We were starting to get

films like Dark Knight and finding that our process was resulting insignificant revenue upswings.

PowerScore Music Tracking comprises 348 channels and net-works covering U.S. and Canada providing custom TV broadcast air-play reports with proven accuracy and verification. All channels andnetworks in the system are licensed by Performing Rights Societies,so if there is a play, then a payment is due. If airplays are identified

and payments have not been received, PowerScore data providesan alert that there is a problem within payment systems. PSM-Tracking, which identifies 16 data fields including title, day, time,year, channel, territory, call letters and cable ID, analyzes 15 Millionrecords in 10 seconds to report all TV airplay weekly, monthly, quar-terly or yearly and perhaps most importantly has the ability to reportall TV airplay history back to 2008.

Talking about the industry in general, Simon points out thatthere is a consistent royalty amount collected worldwide by the200-plus collection societies, which amounts to roughly $11 billiona year. If you see the chart breakdown, youll see that more than55 percent is constantly film and television, states Simon, who wastwice elected to the Board of Directors of SOCAN as a film and TV

music publisher and served as the 1st Vice Chairman of the SOCANBoard from May 2006 to June 2009. The only market that is goingup in this collection is cable TV. Its most recently up 15 percentWhen you see that sort of strength and realize that they need content, then you know that there is an overwhelmed system that has

got lots of money but, if you are not filing your paperwork, yourgoing to miss out. You have three years to claim royalties and afterthat they go into the Black Box.

MRD currently offers two services: Global Royalty Managemen

with commission fees on royalties collectedwhich includes a Revenue Assurance component to create a self-auditing system for eachclient, and Royalty Revenue Assurance, whichis an upfront fee charged against specific work

loads to do with rights holders royalty flows.Our business plan is clear, says Simon. Our advances in

innovation and constant improvement, puts us exactly where webelong... at the crossroads of Art, Technology and Commerce.

The Golden Globe win mentioned in the opening of this piecewent to MRD client Mychael Danna for Original Score (Life of Pi)Danna also picked up nominations for his work on the same film

at the Oscars Original Score and Original Song (Pis Lullaby) and at the British Academy Film Awards (Original Music). MRDclient, Alexandre Desplat, who was nominated for a Golden Globein the Original Score category, is nominated for Original Score athe Oscars for his work on the Ben Affleck film, Argo.

Among MRDs clients today are the rights holders of Pirates othe Caribbean, Twilight and Dark Knight-Batman-films; FlashpointMedium; the ER-TV series Little Miss Sunshine; The HungerGames; The Kings Speech; Life of Pi and close to 1000 titles, manyof them hit films. Recent MRD composer clients include MychaeDanna (Life of Pi, Moneyball, Little Miss Sunshine), Hans Zimme(Inception, Da Vinci Code, Lion King, Pirates of the CaribbeanThe Dark Knight), James Newton Howard

There were no services to answer some of the issues I was findingand, shockingly, little data knowledge, so I started a company to ad-dress film and TV music royalty collections. Marty Simon

Continues on page 1

Marty Simon (centre) with composers Mychael Danna(left) and Jeff Danna at 2011 SOCAN Awards.Photo: Grant W. Martin Photography.

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