Thank you very much, Madam Chair.
Good afternoon, everyone.
I'm the president and CEO of CIMA, the Canadian Independent Music Association.
Our membership includes Canadian-owned music companies, artist entrepreneurs, managers, publishers, promoters, consultants and many other solo self-employed entrepreneurs.
CIMA supports the principles behind Bill C-11. Every entity doing business in Canada operates under some form of federal or provincial regulatory requirements. Online streaming and social media companies should too. These platforms should contribute back into the cultural ecosystem they profit from in the form of, among other ways, financial contributions that can be invested in the sector's industrial infrastructure and artists. We think these things are fair and reasonable and, frankly, a very long time coming.
For over 25 years I was a singer/songwriter, producer/performer and I have to tell you that rarely a day passed when I didn't think: How can I build an audience outside of Canada? That's because the music I was making often didn't fit into the narrow confines of Canadian radio formats at the time. Sometimes it did, but usually it didn't. It was pretty clear that in order to survive, make a living, raise a family, in other words have a middle-class income and life, I had to find a global audience for my songs, which, by the way, I never quite found.
But today, because of a number of factors, including the opportunities created by streaming and social media platforms, more and more of our artists and labels are building that global audience, whereas in the past they would have had no commercial avenue. I think that may be why 75% of all Juno nominees this year were from the Canadian-owned independent sector, and many are finding audiences in markets all over the world.
This growth is also made possible by important public investments in the industrial infrastructure of the Canadian-owned sector through FACTOR and Musicaction. This is a huge success story and a reminder of the importance and potential impact of additional funding from new digital platform partners to the system.
You know that too often when we talk about creators, we tend to hold up the exception as the rule, the über-successful influencer on Instagram, the number of streams Drake has amassed this month or the hit bands that underpin the CanCon structure of terrestrial radio. But they don't tell the true story or the whole story. It has always been, and continues to be, a precarious feast-or-famine life for 95% of those who work in the creative arts, both on and offline—including, alas, Juno nominees. But we do have an incredible opportunity here now to begin to lay a new foundation to build and grow a more stable middle-class arts and culture sector in Canada. So we must really understand the sector we are attempting to legislate and regulate, the opportunities for our artists and Canadian-owned labels if we get it right and the serious ramifications if we get it wrong.
CanCon was put in place to build a domestic industry for a domestic market. Today, we need to invest in the success of Canadian companies and artists for a global market. For CIMA members the best way for Canadian artists to be discovered is to have incredible artists supported by excellent, smart, well-resourced and highly competitive companies that can succeed in the global marketplace, with IP ownership remaining in Canada. We applaud anything in this bill that successfully facilitates these goals. An outcome that results in Canadian artists locked into Canadian-only playlists and a Canadian-only digital ecosystem would be unacceptable.
How music is promoted and shared by music fans on social media platforms has become key to the growth of Canadian-owned independent music, and so we agree with and support the comments by the minister and the chair of the CRTC, who have both said that so-called user-generated content would not be regulated.
Today, music companies have commercial relationships with platforms, therefore, we must ensure the cost of the financial contributions a platform may be required to make—