The challenges faced by the Canadian media sector represent an incredibly challenging policy issue for the government. The struggles to adapt to heightened competition in the digital environment – the local paper now competes with a myriad of alternative choices – has led to layoffs, closures, and intense lobbying for a bailout. For the past few years, the government has largely resisted the lobbying efforts, recognizing the risks to the independence and trust in media that can come from government funding for the media itself. While concerns about government influence over the media and journalists are nothing new (I appeared before two Senate committees yesterday which both featured prominent former journalists), there is a difference between the prospect of future appointments and the perception of cash for favourable coverage.
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One-Sided Story: Lobbyist Data Shows Music, Movie and Publisher Groups Account For 80 Per cent of Registered Copyright Meetings in Canada Since 2015 Election
Canadian Heritage Minister Pablo Rodriguez travelled to Toronto last week, providing an opportunity for the newly-named minister to meet with cultural groups. With many of the biggest rights holder groups tweeting out the meet and greet (CMPA, Writers Guild, Access Copyright, ACTRA, ACP), the visit sent a signal that the new minister is readily available to hear creator community concerns. While Rodriguez should obviously take the time to meet with all stakeholders, an extensive review of lobbying records related to copyright since the 2015 election reveals that 80 per cent of registered copyright meetings for government officials, including policy makers, political staffers, Ministers and Parliamentary Secretaries, have been with rights holder groups. The behind-the-scenes imbalance runs counter to oft-heard claims regarding the influence of companies such as Google and suggests a diminished voice for education, innovative companies, and users on copyright policy.
Canadian Copyright, Fair Dealing and Education, Part Four: Fixing Fair Dealing for the Digital Age
My series on Canadian copyright, fair dealing, and education has explored spending and revenue data at universities and publishers, explained the diminishing value of the Access Copyright licence, and conducted a detailed analysis of site licensing on Canadian campuses which demonstrates the foundation for accessing works are the site licences that offer greater flexibility and value than the Access Copyright licence. The series has also shown how some of the publishers who have been most critical of fair dealing are also the ones that have benefited the most from licensing their e-books to educational institutions.
Never Enough: U.S. Seeks NAFTA Negotiating Edge By Elevating Canada on Piracy Watch List
The U.S. released its annual piracy watch list last week, elevating Canada to the priority watch list alongside countries such as China and Russia. If that sounds implausible, that’s because it is. The U.S. has long used its annual report on IP issues to exert pressure on other countries and this year is no different. Indeed, with the IP chapter still unresolved in the NAFTA negotiations, the decision to elevate Canada appears to be an obvious effort to place negotiators on the defensive. In doing so, the U.S. has further undermined the credibility of a review process that is widely recognized as little more than a lobbying exercise.
Music Industry’s Canadian Copyright Reform Goal: “End Tech Companies’ Safe Harbours”
Miranda Mulholland, a Toronto-based musician and music label owner, delivered an exceptionally passionate, accessible, and deeply personal keynote speech last week to the Economic Club of Canada. Mulholland’s talk was notable not only for providing an artist’s perspective, but for coming ready with next steps for everyone. She urged artists to create and protect their intellectual property, consumers to create playlists, write reviews, go to shows, and subscribe to digital music services, the music industry to be upfront about payment, to better support artists (including providing daycare services), and to pay for tickets to their own artists (Kate Taylor offered her take on the talk here, which includes an incredible comment from Music Canada that it wants only a level playing field, not public money. Music Canada has spent the last few years successfully lobbying for tens of millions in taxpayer support from provincial governments).
Given the active support from Music Canada for the event, her recommendations for policy makers were a core part of her message and largely mirror those of the industry. Unlike the 2010-2012 copyright reform process, piracy is no longer a key issue. Indeed, the issue of peer-to-peer file sharing and unauthorized downloading was not even mentioned in the speech. With the Canadian digital music market enjoying remarkable growth – Canada leaped ahead of Australia last year to become the 6th largest music market in the world and SOCAN generated record revenues – the industry focus is no longer on whether the public is paying for music (they are) but whether they are paying enough.
Recent Posts
The Law Bytes Podcast, Episode 239: The Rise and Fall of Canada’s Digital Services Tax 
Canada’s DST Debacle a Case Study of Digital Strategy Trouble 
Canadian Government Caves on Digital Services Tax After Years of Dismissing the Risks of Trade Retaliation 
The Law Bytes Podcast, Episode 238: David Fraser on Why Bill C-2’s Lawful Access Powers May Put Canadians’ Digital Security At Risk 
Ignoring the Warning Signs: Why Did the Canadian Government Dismiss the Trade Risks of a Digital Services Tax?
