Describe your background and industry experience, and explain how it will help you contribute to the SOCAN Board of Directors?
My name is Carole Facal and I’m also known under my stage name Caracol. I have been working as a bilingual artist, songwriter and producer since 2005. Over the course of my career, I have released 7 albums, 3 EPs and numerous cuts and collaborations. I have toured extensively in Canada and abroad. As a result of my work, I’ve earned the respect of the public and of my peers. I have won and been nominated for numerous awards: GÉNIE, JUNO, FÉLIX, CANADIAN INDIE AWARDS, MIROIR, GAMIQ, etc.
I’m also active in the publishing scene, writing songs for numerous artists (La Voix, Canada’s Got Talent, Star Académie) and producing music for television and film. I am co-owner of a recording studio (Studio de l’Est) and I produce songs for other artists. Several of my songs were placed as synchs, notably: “Tes Larmes” (CBC series Working Moms), “Classic Movie” (TELUS Mobilité ad campaign), “Quelque part” (movie Starbuck), “Flooded Field ft. Illa J” (AppleTV series Dickinson), and many more.
For the last few years, I’ve been politically involved through the steering committees of RAM and SPACQ-AE. Within these organizations, my voice was instrumental in opening SODEC’s volet 3 to artist entrepreneurs (self-producers), as well as expanding SPACQ-AE to include artist entrepreneurs, thus becoming the official organization representing their interests.
Among other relevant experiences, I’ve been a jury member at CALQ, CAC, MUSICACTION and SOCAN FOUNDATION, I participated in ministerial consultations and was a beta tester for the digital platforms MétaMusique and SmartSplit, and was a mentor for young artists.
I have a vast knowledge of the inner workings of the industry from my 20 years of experience. I believe I have what it takes to do an excellent job on the SOCAN Board.
In your opinion, what issues will be most important to SOCAN members over the next three years?
- Lobby for the adoption of a new technology-neutral private copying law, and the modernization of copyright law.
- An in-depth reflection on artificial intelligence. Since AI is here to stay, work for copyright protection, so that it becomes our ally, not our enemy, when it comes to reproduction rights.
- Work with the platforms on the discoverability of Canadian and Québécois content.
- Better monetization of streaming for creators.
- Demand transparency and accountability from all subsidized organizations.
- Create more opportunities for members to share and create (along the lines of the KENEKT song camp). Encourage the film industry to increase sync placements of Canadian and Québec songs.
- Increase the rates for live performances.
- Resolve the undistributed money issue, e.g., when producers fail to provide proof of concert or SOCAN registrations.Â
- Keep an eye on immersive music (installations, new media).
- Improve the SOCAN portal.
- Follow-up on new SOCAN resources dedicated to Québec members and the Francophonie outside Québec.
- Lobby for increased resources for the Copyright Board.