SoVote

Mr. Mark Gerretsen (Parliamentary Secretary to the Leader of the Government in the House of Commons (Senate), Lib.)

Jun/17/22 10:19:07 a.m.
Watch
Re: Bill C-11

Madam Speaker, I am pleased to rise today in support of Bill C-11, the online streaming act. The online streaming act would help ensure a strong place for Canadian stories and music in the digital world. It would make the online streaming platforms contribute their fair share to our culture. The bill is based on the simple premise that those who benefit from the system must contribute to it. This has been the approach in Canada for over 50 years, and the results speak for themselves. As a condition of their licences, TV and radio broadcasters have to invest in our culture and arts. That is why we all have the Canadian content that we love so much. I grew up on a small, quiet street in Kingston, Ontario. Five doors down from me were the Sinclairs and across the street from them were the Bakers. Little did I know, as an eight- and nine-year-old paperboy delivering papers around the street, that every time I passed by the Bakers' house and heard this loud music coming from the basement I was actually witnessing the formation of The Tragically Hip. Later on, they became the incredibly successful band that we have all come to know and love in Canada. Gord Sinclair, one of the members of the band, appeared before committee. I listened to his testimony at committee and would like to share it with the House because I think it is extremely important and properly illustrates why this type of legislation is very badly needed. I believe that it belongs in Hansard. Gord said this in his statement: My name is Gord Sinclair, and I am a member of The Tragically Hip. I want to thank you for the opportunity to speak today. The Hip set out from Kingston, Ontario, in the mid-1980s, and our journey—

311 words

Context: House Hansard - 91 - Jun/17/22

Mr. Mark Gerretsen

Jun/17/22 10:21:13 a.m.
Watch
Re: Bill C-11

Madam Speaker, I am just amazed that the member for South Shore—St. Margarets is heckling me while I read the transcript of what somebody said in committee. This is, again, from Gord Sinclair, from The Tragically Hip: The Hip set out from Kingston, Ontario, in the mid-1980s, and our journey took us around the world and lasted over 30 years. It concluded where it began, back in Kingston, when our final concert was broadcast nationwide and viewed by a third of the population of Canada. How did we wind up there? Over the years, we wrote some good songs, we worked hard and we had great fans, but in the beginning we were beneficiaries of CanCon, the partnership between private broadcasters and government. This was not a handout. For us, it was a leg-up. With the help of our managers, we recorded an EP and got signed to a label and, with their help, we were able to get some airplay on radio. That gave us enough exposure across the country to take the show on the road, as so many great Canadian entertainers have done. Canadians excel at live performance. The sheer size of the country is our greatest asset. The road is long and hard, with vast distances between gigs. You can't have a day job and aspire to be a performer in Canada. You either learn to love the life and your travelling companions or you break up. The late great Ronnie Hawkins always said that Canadians have to work 10 times as hard to get a tenth as far. The artists who do endure have honed their talent to a very high standard. Canadian musicians are seasoned travellers. They've learned to play live and to live on the road, and that's what sets us apart. Somehow, during the years and hours of staring out the van window at granite and black spruce, you discover what it means to be a Canadian. You realize that despite its size, distinct regions and communities, there is more that binds us together in this country than separates us. The Hip wrote songs from that perspective. Many of them resonated with our fellow Canadians and enjoy enduring popularity. Through the travel, the space, the time and the weather, the songwriter searches for meaning and what gives us a common identity. Nations create and preserve themselves through the stories they tell. Words set to rhythm and melodies are our stories. They allowed us to enjoy a long fruitful career until Gord Downie's untimely death.... Times change. In the 30 years that The Hip were performing, we went from producing vinyl records and cassettes to CDs, videos and DATs through Napster, and to iTunes and YouTube, and now to streaming and its dominant platform, Spotify. Through it all, until recently, there have been live shows to make ends meet, but people no longer buy the physical products our industry produces. In the digital age, people haven't given up on music—just the idea of paying for it. That business model is unsustainable. We are all stakeholders of the arts, and the future has never been more dire. For years, traditional broadcasters, in partnership with the federal government, have helped develop and sustain Canadian recording artists. The Canada Music Fund provides critical support for music in this country. What will happen if that funding disappears? Gord Downie wrote in our song Morning Moon that if “something's too cheap, somebody's paying something”. Every song ever recorded can now be streamed for less than $10 a month. The somebodies in this case will be the future you and me when we realize that we've undervalued the contribution of Canadian musicians and songwriters. There is no better art form to preserve, promote and export our culture than music, but after two years of pandemic-induced venue closures and cancelled performances, our domestic industry is in peril. Artists must see a glimmer of hope for a career in music or they will simply give up. Where will our next Joni Mitchell come from if we abandon our young artists? Artistic development takes time. If we don't actually value something at a level necessary to sustain it, it will surely disappear. Streaming is here to stay, but the platforms and ISPs must contribute to the long-term health of the arts in some way. They must look on it as an investment. Streaming is a great way for artists to have their material heard, to discover new music and to be discovered, but in an industry that has seen the majority of its revenue streams disappear, how can an artist earn a living? Streaming can help, but regulations must adapt to allow Canadian culture to flourish in the digital age.... My worry is that many will give up before they get the chance to find their voice. As much as the global market is important, Canadian artists must also reach their fellow Canadians from coast to coast to coast. In today's environment, there is a place for everyone, just as there is a place for streaming alongside traditional broadcasters and live performances. Our potential as a creative nation is as vast as the country itself. Songwriters are our best cultural ambassadors. We are compelled to create, to express what we know and what we feel. We need partners in government and industry.... Right now, somewhere in Canada, a young artist is searching for their voice, the right bit of melody to go with the perfect words. We need your help to hear these voices. These are the words of Gord Sinclair. To the member who was heckling me previously, and who continued to heckle me while I was reading that, I really hope for the goodness of this institution that he was not doing the same while Gord was delivering those words at committee, because that would have been extremely disrespectful. I thought it was extremely important to read those words into Hansard so they could be part of the debate the House experiences on this issue. I am very concerned by the rhetoric I have been hearing. Unfortunately for them, I do not think this applies to Canadian discourse, but unfortunately for Conservatives, I do not quite think this manufactured outrage they are attempting for a second time has been nearly as successful as it was the first time around in the last Parliament because they just do not seem to have the traction, despite the outrage we have seen, particularly from the previous speaker. What I do know is that musicians and individuals who are looking to preserve that Canadian culture, and who take great pride in being Canadian, need our support. Doing something strictly because we think we are going to get a little political gain out of it, but doing it at the cost of those cultural creators throughout our country, is extremely, to use her word, disingenuous of what we should be doing and how we should be properly taking care of Canadian artists. I have no problem supporting the bill. I know the bill does not do a number of the things that were previously said. It does not impose regulations on the content everyday Canadians post on social media. It does not impose regulations on Canadian digital charter content creators, influencers or users. It does not censure content or mandate specific algorithms, as the previous member indicated, and it does not limit Canadians' freedom of expression in any way, shape or form.

1267 words

All Topics

Context: House Hansard - 91 - Jun/17/22

Mr. Tim Louis (Kitchener—Conestoga, Lib.)

Jun/17/22 12:45:16 p.m.
Watch
Re: Bill C-11

Mr. Speaker, I am pleased to rise today in support of Bill C-11. For decades, Canadian broadcasters have given us incredible Canadian content on our televisions and our radios. This is no accident. We support our cultural sovereignty. It is who we are as Canadians. It is our past, it is our present and it is our future. It is how we tell our stories to each other. As a condition of their licences, TV and radio broadcasters have had to invest in our culture and our artists. That is why we have the Canadian content that we are so proud of. Here is what has changed. Online streaming platforms are the new broadcasters, yet they do not have to play by the same rules. Online streaming is the norm. Canadian broadcasters play by one set of rules and streaming platforms play by another. There should be one set of rules for everyone. That is why the government introduced Bill C-11, the online streaming act. This bill ensures that online streamers contribute in an equitable but flexible way to the creation of Canadian content, and ensures that Canadians can find that content on their platforms. Now, let us talk about what this bill would not do. This bill would not impose regulations on content that everyday Canadians post on social media. This bill would not impose regulations on Canadian digital content creators, influencers or users. This bill would not censor content or mandate specific algorithms on streaming services or social media platforms, and this bill would not limit Canadians' freedom of expression in any way, shape or form. We have heard a lot of misinformation. My colleague just mentioned previously that a lot of emails have come in with a lot of confusion and misinformation, and I believe that is deliberate. I was going to address two of the issues that we might be hearing some of the most misinformation about in the Online Streaming Act. First is the fact that user-generated content is excluded. People ask where that is in the legislation. The bill explicitly excludes all user-generated content in social media platforms and streaming services. I will read the subsection. Subsection 2.1 of Bill C-11 states: A person who uses a social media service to upload programs for transmission over the Internet and reception by other users of the service — and who is not the provider of the service or the provider’s affiliate, or the agent or mandatary of either of them — does not, by the fact of that use, carry on a broadcasting undertaking for the purposes of this Act. In plain language, that means that users, even digital-first creators with millions of subscribers, are not broadcasters and therefore they will not face any obligations under the act. Any suggestions otherwise are simply untrue.

478 words

Context: House Hansard - 91 - Jun/17/22

Mr. Tim Louis

Jun/17/22 12:56:55 p.m.
Watch
Re: Bill C-11

Mr. Speaker, my colleague always asks wonderful questions. Every time she asks a question, the whole House listens, and I think that is a testament to her nature. She is looking out for our artists, including digital first creators. The intent of this bill is not to scope in digital creators. If they have user-generated content, the bill is not going to cover them. It is simply requiring platforms that are not paying into our system to contribute. Right now our traditional broadcasters contribute to the system. They pay into it, and the online foreign streamers are not paying into that system. the bill would simply let them pay into the system and make sure that all our voices can be heard with some discoverability measures.

127 words

Context: House Hansard - 91 - Jun/17/22

Mr. Tim Louis

Jun/17/22 12:58:26 p.m.
Watch
Re: Bill C-11

Mr. Speaker, I thank my colleague for the advice he offers from time to time. It always comes in handy, and I appreciate that. The world is changing fast. It used to be a closed system, where our traditional broadcasters paid into the system to make sure they contributed to Canadian culture with grants and programs that artists could draw from to tell their stories. Right now we have two systems. We have the traditional broadcasters, which are in radio and TV and are still paying into the system, and we have our online foreign streamers, which are not. They are not paying into any kind of system. Sometimes they contribute to a production here, but they are not paying into the system itself, and that is the level playing field we need to see. If they are acting as broadcasters here in Canada, which these foreign online streamers are, they would fall under the same regulations and would have to contribute funds to our culture for our Canadian artists to draw from to tell their own stories.

178 words

All Topics