44th Parl. 1st Sess.
June 13, 2022 11:00AM
Madam Speaker, the hon. member knows very well that there has been extensive debate on this bill. There were more than 15 hours of debate at second reading, where we heard from 48 speakers, the overwhelming majority of whom were Conservative speakers, and there has been extensive debate at committee, 21 hours. The reason we are here today is that the Conservatives have been filibustering so much that they will not even let the bill get to clause-by-clause consideration, and they literally filibustered their own motion in committee.
They do not want to debate this bill; they just want to block it. They are fundraising off of fearmongering. We are going to make sure that broadcasters pay for great content in Canada. That is what this is about.
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Madam Speaker, we have seen what has happened at committee. I have seen it first-hand. It is unbelievable. We had the witnesses selected; then the Conservatives started filibustering the witnesses, including the CRTC chair and the minister, refusing to let them come to committee. Then the Conservatives filibustered some more and basically stopped all the committee's functions.
As members know, the job of the committee is actually to improve the bill. There were a number of intervenors. The vast majority of those who came forward at committee were in support of the bill, but they wanted to see improvements, and Conservatives are refusing to allow those improvements to be adopted.
I want to ask my colleague why the Conservatives are blocking everything and why they do not do their job as official opposition and actually improve the bill. That is the reason we are here.
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Madam Speaker, the Conservatives have had dozens of hours to debate this bill, and so have other members. Conservatives have been filibustering and have been blocking, and they do not want to see this bill move forward.
Just one of the benefits of Bill C-11 is that we would be updating the mandate of the CRTC to include specific focus on supporting francophone, racialized, indigenous, LGBTQ+ and disabled creators in Canada, and this means a portion of the contributions from broadcasting and streaming platforms would be directly supporting the development of these creative platforms and of people in the ecosystem who have been shut out.
As such, it is up to the Conservatives to tell Canadians why they are blocking legislation that would help creators who have been disadvantaged since the Broadcasting Act was first in place in 1991. Why are they not doing their job and making the bill better, instead of blocking it at committee?
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Madam Speaker, none of what the minister just said is accurate.
The Senate is not going to pass this bill before the end of June. We just heard that the committee has been considering this bill since the middle of May. I have been to that committee. What the cabinet is calling filibustering is what I call debate and raising the issues our constituents are raising.
Thousands of Canadians emailed us and said they did not want to see what was called Bill C-10. The government brought it back as Bill C-11. The bill has not been fixed. They have not fixed section 4.2, which does generate the ability of the government, through the CRTC, to moderate and censor the content uploaded by users.
This motion is truly a lack of confidence in the chair of the Canadian heritage committee. This is entirely of the government's making and entirely the government's fault. This legislation has not been reviewed or debated in 31 years. There is no reason to rush it through in the next few weeks. The government is being completely inaccurate in the way it is presenting it. It is a darn shame that we will not be able to review this bill as it deserves to be reviewed, because Canadians are interested to know if they will still be able to use the Internet, their YouTube channels, their Facebook and their TikTok in the ways that they have always been able to without the censorship of government and the CRTC.
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Madam Speaker, I would like the minister to comment on the Conservative strategy at committee, which has been bizarre beyond belief, including filibustering so witnesses such as the chair of the CRTC could not testify. All the other parties submitted their amendments a week and a half ago, and the Conservatives pretended that the dog ate their homework. They then finally admitted last Friday that they had submitted their amendments, but are still refusing to have clause-by-clause consideration. I tabled a very important motion regarding a subamendment to have hearings into the horrific allegations of sexual assault with respect to Hockey Canada. Had the Conservatives not refused to allow a vote on it, we would be starting the hearings into that important issue today.
I want to ask the minister this: What does he think the Conservative strategy is? What does he think the Conservatives hope to gain by all of the obstruction and chaos they are causing?
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Madam Speaker, I thank the hon. member for his observation.
Quite frankly, I would love to see this place work, but it requires the participation of the Conservative Party of Canada, the loyal opposition, to do its job and actually come to the table to debate amendments, and to lose those amendments if they do not have the majority of the committee. However, they are not doing that. They are filibustering, and it is so absurd, but they are filibustering their own motions. I have never seen that in my time here in this place.
Quite frankly, the committee needs to get back to work, and Canadians want us to get back to work. That is what they sent us here for.
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Madam Speaker, I think we have to go back to the numbers. There have been 15 hours of debate at second reading, 21 hours of debate at committee, with seven hours of filibustering, including the Conservatives filibustering their own motion.
To the hon. member's question, what is at stake here and what is important is that the whole thrust of Bill C-11 is to showcase Canadian creators and to make sure that Canadians can discover more of the great stories that Canada has to offer. We will always, as Canadians, have the choice to watch and listen to whatever we want. Bill C-11 just asks platforms to showcase more Canadian stories. What could be nefarious about that? Absolutely nothing about that is nefarious.
This will make it easier for Canadians to discover up-and-coming homegrown talent. Quite frankly, I grew up and discovered The Tragically Hip . I fell in love with Corner Gas, Kim's Convenience and Schitt's Creek. I can go through the list.
I also discovered Mensonges and Tout le monde en parle. Everything we have in Canada is worth broadcasting around the world.
That is what this is about.
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Madam Speaker, I cannot believe that it is mid‑June and we are still debating the long-awaited bill to reform the Broadcasting Act. We have been waiting for 30 years.
My colleague, the member for Drummond, and his colleagues at the Standing Committee on Canadian Heritage almost managed to pass Bill C‑10, the first version of the current Bill C‑11, in the last Parliament. Our democracy and our work are dependent on royal assent, which was refused. We had to start over.
I applaud the very useful work done during the 43th Parliament on the former Bill C‑10, which resulted in the current bill, Bill C-11, being more substantive. It has already been well-received by the creative industry. We therefore saved time.
However, today, I am getting the unpleasant impression that this is the same movie over again. All that does is fuel cynicism among Canadians. I wonder if those who are dragging this out by filibustering really care at all about culture itself, its creators, its broadcasters and its audience. The audience is worried there will be no new content. They are worried about losing their content creators, who are stretched thin. That would mean losing the thing that has been giving life to modern societies, all the way back into antiquity: culture.
For those watching our debates, I want to talk about the crucial steps involved in creating a finished work, or rather one that has been allowed to leave the nest. Indeed, a work is never really finished. It is a bit like raising children: We pour our love, values, time, energy and emotions into them, but there comes a time when we simply have to let them fly on their own, taking the best we have given them. A work of art is the same thing.
I could talk about creating a painting, a dance, a circus show or a sculpture, or writing a novel or a play, but my world is music. Music is what I know.
I know that all artistic endeavours go through essentially the same stages: research, development and creation of the idea through to final composition, preproduction, production, deciding where to release the work and how to promote it, marketing, and public performance. No matter the art or expression, there are many stages, all of them demanding.
It is important to remember that, for many singers and musicians, the creative process does not end with recording their music and songs.
Artists have to work on their instrument. Singers have to develop and refine their vocal technique. They have to pay a voice coach to help them manage their energy and polish their raw talent, just like professional athletes train to master their technique. It is hard work, and the best trainers are expensive.
Singers also have to develop their musical ability. Many accompany themselves on an instrument or two. Those musical instruments are pretty much essential tools for setting lyrics to music. The next step is a comprehensive creative process that unites words and music.
Some participate in workshops. Others are more self-taught. Still others call on the musical talents of veteran musicians. Eventually inspiration strikes. As if by magic, lyrics find their musical match, words weave their way in and out of chord progressions. That is the joy of creation.
Once the song is written, or rather, the songs are written, because it takes more than one to market an artist, some fine-tuning is needed. Artists have to surround themselves with good musicians and find a producer to finance the recording of the songs, since the basic vehicle for the art of songwriting is people hearing the songs. Some will invest the money and produce it themselves. Others, a very small percentage, might be able to access a few government incentives. Most—and I emphasize that word—are their own producers and will invest their own money, or worse, go into debt to try to break into a market that has become increasingly opaque.
Let us talk about the production stage. I will talk about my own experience, because it is mine, and it is the one I know best. I recorded one of my albums at my family's home in Isle-aux-Coudres. I wanted my collaborators and the musicians to be captivated by that majestic river, which I wanted to celebrate in song. I was hoping the setting would enrich their musical performance and therefore further enhance my songs.
My father, who had always been a bit skeptical about this whole singing business, and who thought, like many people, that it was easy, fun and simple to make music if you had a bit of talent, was genuinely amazed at the science behind the recording process and the amount of time it requires. When he saw that it took half a day just to balance the drum and bass levels, he could hardly believe it.
For a good week we worked on guitar, violin, the accordion, keyboards and vocals. We started the preproduction; we played all the songs to become familiar with them, to find the sounds and harmonies, to find the right instruments for each song. Then we were finally ready to record.
Each song has its own universe. We start by recording a guiding vocal track. It is not the final vocal track, it is just the one that will guide the musicians. Then we record one by one and we record the final vocals and the vocal harmonies that support and enhance the whole work. We do all that for the 10 or 12 songs that will be part of the album that we hope will be the best one of our lives.
Is that it? No, far from it. Then each song needs to be mixed, because all these sounds need to have a pleasant balance and appropriate audio to make it pleasing to the ear, which will drive the rest.
After the mixing, is it done? No, not at all; then comes the mastering, what we call matriçage in French. We need a master in the art to ensure that every volume is appropriate for the different broadcasting forms, either the radio, headphones or outdoor broadcasts, at low decibel levels or high decibel levels. It is an art and it is expensive.
Is it done? No, not yet. The next step is to find a graphic artist who will be able to showcase the entire work and create an attractive presentation for a CD booklet, the cover for a vinyl record, which is my favourite medium, or the visual accompaniment for the music on streaming platforms.
Now is it done? No, not yet. The artist still has to get their music out there by hiring a manager or an agent, as the case may be, to promote the album to various broadcasters and promoters. It is of course imperative to create a show in order to bring the work to life. Then the process starts all over again: looking for a venue, a sound technician, a lighting technician and a stage manager, finding some available musicians and putting on a show. If, and only if, the work is a success with the public will the artist earn a little income from the process.
I have to emphasize that, regardless of the artist's popularity, it is only if streaming platforms have copyright and reproduction rights obligations that all these efforts and the financial risk taking will be compensated with a small amount of royalties.
That is what creating involves. Creators are resilient, patient and firmly convinced that their works play an important, not to say fundamental, role in the social universe of the community.
The last time that I rose in the House to speak to Bill C‑11 was 34 days ago.
According to the former minister of Canadian heritage and current Minister of the Environment and Climate Change, for every month that goes by without passing this bill, creators lose roughly $70 million. Using cross-multiplication, we can calculate that the creative industry has lost a little over $78 million since my last speech. Since the beginning of this Parliament, our culture and its content creators have been deprived of $1.33 billion.
We cannot wait any longer to pass Bill C‑11. The survival of our artists, the very essence of our cultural past and future, has been hijacked by these political squabbles. We need to stop treating creators like drones that create art to entertain us. Yes, they do entertain us, but that is their job. It is a demanding job that requires a lot of discipline and courage. It is also, above all, how they earn their living.
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Madam Speaker, I want to thank my hon. colleague for that question. It is such a distinct pleasure to work with her in my caucus. She does fantastic work.
In relation to why this bill is important and the parts I spoke to, one really critical part is the fact that right now, as we speak, companies are generating income and not paying their fair share. As time goes on, Canadians continue to lose that opportunity that should be present for them now, which is terrible, when we need to ensure that we protect these communities now more than ever.
When I think about what is slowing us down, we are looking at a Parliament that is hobbling along. We are trying our hardest to make sure that important legislation hits the floor for a vote, whether at committee or here, but we are seeing long debates and filibustering at committee, which is slowing down this work for reasons I think my colleagues from the governing bench have commented on.
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Mr. Speaker, the member opposite just mentioned in a response that he had amendments to this bill. During the seven hours of filibustering at the heritage committee, those amendments could have actually been brought forward when they got to clause-by-clause.
If he feels that he did not get to bring forward amendments, he might want to ask his colleagues on the heritage committee about it. They prevented it from getting to clause-by-clause, thus preventing amendments being brought forward.
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