Publisher Candidates

What issues, do you think, will be important to SOCAN members over the next three years?

Some things I think SOCAN members will care about in the next three years:

1. Improved reporting and mobile tools that allow members to know at a moment’s notice where their accounts stand, file performances, and access services.

2. Members will be looking for SOCAN to take a role in seeing that the digital streaming economy does not leave Canadian creators and publishers behind, by advocating for discovery tools to surface local music at the various digital platforms.

3. Making sure that the core business is healthy and efficient, both in resources and the cost of doing business. At the same time, looking for new streams of income that will be able to supplement the loss of other lines of business, such as what has happened to the live business with the onset on the pandemic.

4. Even more grassroots education programs for creators and publishers, so they understand how their money is made; the nature of digital deals with DSPs; and transparency on how much value there is in, for example, a stream or a radio play; how best to build value in the digital economy via live concert streams, use of gaming and AI; and SOCAN analytic dashboards.

How can you best contribute to the SOCAN Board of Directors?

Being on the Board previously, I bring that knowledge into this new term, and I will also come with extensive experience in music publishing, as the General Manager of Warner Chappell Canada, representing a wide range of SOCAN members; artist development, as a part of Honey Jam; and music industry framework and practices, as a member of numerous boards and associations in Canada.

I have worked in all aspects of the publishing business, and I am very hands-on with advocating for the needs of SOCAN members on services that are provided, as well of the cost of doing business.

While I try to focus on direct issues, my experience at a bigger company also affords me a big-picture perspective, as well as a view on wider industry issues and deals that allows me to contribute meaningfully in these discussions.

Lastly as a Black Woman, I represent diverse communities and genres of music, and I can bring my knowledge, participation, and intersection in those communities into discussions at the SOCAN Board.  This is important, considering that for example, Black Music is some of the most consumed music, but does not always have representation at the table.

What issues, do you think, will be important to SOCAN members over the next three years?

The list of items on the SOCAN agenda are many, varied, and ever-changing. We are guided by the U.S. as a neighbour, but continue to be independent and unique, though not competitive enough. SOCAN’s members are going to demand their foreign royalties, including those from the U.S., be distributed more quickly than up to a year in arrears, for both performance and digital royalties.

Equally important, and commensurate with that, we need a more robust and agile negotiations process with the emerging digital platforms in order to ensure both timely and accurate payments, avoiding the tariff atrophy as technology changes (e.g., ringtones and the blank media levy). Internally, I would like to see the formation of a sub-committee of publishing administrators who can address the issues they face with the synergy between internal and public song registrations.

How can you best contribute to the SOCAN Board of Directors?

I have, for the past eight years, represented BMG Rights Management Canada Inc. on every issue regarding music publishing rights and licensing. They have great faith in me and my colleague, Vicki Walters.  For more than 28 years, my entire career, I have been a music publisher. I also have experience looking at the music industry from both sides of the table. I bring experience from artist management and label liaison, as well as ably assisting many songwriters in understanding and navigating their rights, through my Executive Directorship of S.A.C., and through my many lectures and board appointments.

From royalty administration, song registration, mechanical and performance rights, to synchronization and songwriter contract negotiation, and song catalogue monetization and acquisitions, the number and diversity of contracts I have seen puts me in a position to understand varied stakeholders, and how SOCAN can navigate and be at the forefront of addressing them. The executive positions I have held have afforded me the experience, respect, and access to decision-makers, and I think it is time I become one of them.

What issues, do you think, will be important to SOCAN members over the next three years?

One issue I believe will be important to SOCAN members is the prominence of digital media platforms allowing consumers ease of access to exploit musical copyrights.  Enforcing existing licenses for proper revenue distribution, and facilitating licenses for new DSPs must be a top priority for PROs.  SOCAN needs to ensure that there’s always an aggressive payment distribution framework in place for DSPs like Spotify, Apple, TikTok, etc., so it can easily be applied or extrapolated to new media sources, so that  members enjoy favorable revenue gains from these sources more quickly.  The lack of DSP reporting and favourable rates is a continued disappointment with writers.  It’s vital to have their voice heard for what’s considered fair compensation.  I realize associations such as NMPA handle rate negotiations, and that leads me to the other important issue I’ve in mind.  It’s important to not only have them advocate, but for SOCAN to be partnered in advocating as well.  How closely such parties work together and are present at the negotiation table together with DSPs would be key to put forward constructive ideas.

How can you best contribute to the SOCAN Board of Directors?

I believe the best way I can contribute is to really listen to the experienced people around me, to fully understand long-standing issues in the music industry, that exist today.  In doing so, I believe I can work together with others and try to come to solutions that fit.  I’ve always felt that every idea is worth putting on the table.  And after exploring each constructively, the group puts forward what are considered the best answers to address the questions ahead of them.

What issues, do you think, will be important to SOCAN members over the next three years?

The key for the next three years is to secure SOCAN’s financial position, and to adopt a new strategic positioning in order to secure SOCAN’s financial and operational viability into the future.

How can you best contribute to the SOCAN Board of Directors?

As an experienced entertainment attorney and the founder of a very successful Canadian music publisher, that has demonstrated an ability to punch way above its weight internationally, I bring a wealth of experience to the table.   As a Board member for the last six years, I have a deep knowledge of the issues facing SOCAN into the future, and I plan to deploy my experience to the benefit of all SOCAN members, with a particular focus on the particular issues facing Francophone creators and publishers.  

What issues, do you think, will be important to SOCAN members over the next three years?

Aside from Bill C-10 and copyright review, an immediate priority for members is obviously recovering from the pandemic and rebuilding the live music industry.

The licensing of digital services is becoming even more important, as all the major technology companies pursue in-car strategies.  A convergence of terrestrial broadcasting and streaming services (powered by 5G mobile networks) is about to occur in the automotive space, which will further accelerate the decline of traditional radio broadcaster revenues, and the membership will need SOCAN to adapt.

In addition, the new layers of technical and operational complexity created by both the audio and audio-visual streaming services means that publishers and self-administered writers need new tools and training to compete internationally.

How can you best contribute to the SOCAN Board of Directors?

I have a keen understanding of broadcaster economics, and of the intersection of exclusive rights with remuneration rights in the streaming market that would make me a particularly valuable contributor on the Tariff, Licensing and Distribution Committee. 

I also bring a significant amount of advocacy experience in both domestic and international issues, and can contribute insights from other jurisdictions gained from my involvement in several international trade associations.

What issues, do you think, will be important to SOCAN members over the next three years?

As the global music business evolves rapidly in response to new technologies and business models, digital disruption, and increasing competition, SOCAN will continue to navigate the threats and opportunities these challenges will present as the digital future unfolds.

SOCAN core values are very important to membership and include inclusivity, diversity, social responsibility, and support for its songwriters, composers, and publisher members.

How can you best contribute to the SOCAN Board of Directors?

During my extended terms as a SOCAN Director I have participated on the following Board committees: Tariff, Licensing and Distribution Committee, Membership Committee, Risk Identification and Management Committee, the SOCAN Foundation Committee, as well as the Executive Governance Committee, where service to our members and SOCAN employee needs, concerns, and satisfaction are of the utmost importance to all.

As a member of the Board, I will continue to contribute to and embrace SOCAN’s vision, values, and business culture, through good governance practices. 

The development of new strategic plans by the SOCAN Board and management will ensure a robust future that benefits all SOCAN members. I hope to continue to participate in this important endeavor.

What issues, do you think, will be important to SOCAN members over the next three years?

First and foremost, the industry will need to recover from the decimating impact of the global pandemic. As the country contemplates moving into the recovery phase later this year, once the inoculation programs have been established and vaccines have been widely delivered, it will be late in 2021. That will have been almost two years of standstill. Creators have been deeply impacted by this devastation. SOCAN needs to play a vital leadership and support role for its members through its programs.

Well before the pandemic hit, though, the industry and its professionals have been struggling with the compensation levels because of the increase in digital activities. The monetization models are resulting in lower and lower levels of compensation and this is a significant issue for creators and performers.

And yet, the digital world as it is now emerging, is here in a much deeper way than it has been previosuly. The pandemic has forced us all into it, and as we emerge and begin to recover, there will need to be flexibility and commitment to ensure proper remuneration levels for artists and creators.

How can you best contribute to the SOCAN Board of Directors?

I will bring 33 years of experience in the arts and cultural sector to my role as a member of the Board at SOCAN.

Serving as a program officer at the Ontario Arts Council provided perspective and context for the very important work that all artists and arts organizations contribute to society. A Board of Directors such as that of SOCAN needs to provide this sector-wide perspective.

There is very limited publishing activity in classical music and contemporary music in Canada. The CMC is one of the few institutions providing this service solely to Canadian composers in the sector. In addition, the CMC’s award-winning record label Centrediscs is the only label dedicated exclusively to Canadian composers. I will bring this valuable insight to the SOCAN board.

Lastly, the perspective of being an orchestra manager for Canada’s celebrated Tafelmusik Baroque Orchestra, plus running Canada’s largest chamber music festivals, Ottawa Chamberfest, brings tremendous presenting and artist engagement experience.

In all of these roles, Boards have been a crucial element. As CEO, I have learned to work in complete synchronicity with the board leadership in order for the organizations to thrive. This is important experience I will bring to the SOCAN board.

What issues do you think will be important to Socan members over the next 3 years?

I would suggest the most crucial thing that needs to be addressed for Canadian writers and publishers, is to try and improve the streaming rate for compositions. At the moment the streaming rate for compositions is so much lower than masters that writers and publishers are disadvantaged. It is harder for writers to make a living, and although heritage artists’ catalogues are very valuable, there is less investment being made in up-and-coming writers, or even experienced writers. There is more investment in masters because the streaming master rates are much higher. If the SOCAN Board can work on bringing up the streaming rate for compositions in a significant manner, this will dramatically and positively change the financial well-being for writers and publishers.

Secondly, the publishing industry is dominated these days by very big players. Over the next three years it’s vital to devise a strategy to develop a vibrant music industry of small and mid-size publishers that can super-serve writers of all kinds, big and small. 

Thirdly, as music consumption is now almost entirely digital, and given most of these platforms are global (Spotify, Tik Tok, etc.), it means publishing and Canadian writer and song promotion has to be a global business. Over the next three years, it will be more and more vital to have effective international strategies for income collection and the promotion of Canadian writers and publishers. Whether through alliances or directly, SOCAN should play a proud role in foreign income collection, and the promotion of Canadian publishers and writers internationally. 

How can you best contribute to the Socan Board of Directors?

I have been involved with publishing in one form or another since Nettwerk began in the 1980s. I’ve been devoted to publishing because I really believe in the power of great songs. Related to this, I’m very passionate about working with writers, and also humbly believe I have a good understanding of what is important for writers. 

I also believe a thriving publishing industry should support writers, and great songs will emerge if writers are supported. Through my Board involvement with the CMPA, with FACTOR, and with the A2IM over the years, I’ve tried to contribute in my own small way to help support a thriving publishing/music industry. 

If I had the honour of being elected to the SOCAN Board I would continue on this path, working with the Board to raise royalties for publishers and writers, and trying to help SOCAN succeed brilliantly in representing Canadian writers and publishers in Canada and abroad. 

What issues do you think will be important to Socan members over the next 3 years?

Over the next three years, I believe that SOCAN will have to work to increase the value of the tariffs and revenues linked to streaming; to improve the collection and distribution of concert rights; to foster closer ties with the publishers who are clients of the CMRRA, in order to bring together in a few years the collection of performance and reproduction rights under the same roof; to regularly consult and thoroughly involve authors and publishers, in order to better meet their expectations and real needs; to improve the identification of works broadcast on radio via BDS or another system; and to develop more efficient metadata management processes using the DDEX protocol.

How can you best contribute to the Socan Board of Directors?

I wish to offer SOCAN’s Board my experience as a publisher and as a director, but also my involvement and dynamism within various committees and tables of negotiation and representation. I intend to actively contribute to meet the challenges that SOCAN will face in the years to come as a collective management society.

What issues, do you think, will be important to SOCAN members over the next three years?

Due to the unprecedented times in which we are living, with live shows temporarily canceled, members want their distributions faster, and to have a best-in-class portal for easy registrations and catalogue management.  It is important for members to know that SOCAN is fighting for fair and better compensation from the digital music services, and to have a strong voice with government as the industry works to recover from COVID.   Internationally, members want to make sure that SOCAN is a leader in collections and transparency, and keeps current with global industry trends, which will strengthen our domestic industry.

How can you best contribute to the SOCAN Board of Directors?

For over 20 years I have worked on a day-to-day creative level with a number of writers, artists, and publishers. I have licensed thousands of songs to film and television projects, as well as worked closely with writers to help achieve their career objectives. I think I would bring to the board my perspective and practical experience regarding the realities of the current music business and how it affects the creator on an individual level.

What issues, do you think, will be important to SOCAN members over the next three years?

Streaming Rates/Licenses: It is important that music creators/publishers be fairly compensated and that the overall amount paid for the use of songs increases. At the same time, the time lag between usage and payment by new digital services needs to decrease, so that music creators/publishers are not the last in the value chain to get licensed and paid.

Discoverability: Income paid to Canadian songwriters from digital media is going down relative to other media formats.  How can we work with our colleagues and partners to enhance discoverability of Canadian songs on digital platforms?

Inclusiveness:  Do the institutions that serve music creators/publishers reflect their membership, and the membership’s core values?  SOCAN should be a leader driving this change in the music industry, so that the art and business of songwriting continues to thrive in Canada. 

What contribution can you make to the SOCAN Board of Directors?

I have run a successful independent music publishing company for 20 years.  My financial/business experience will be of assistance in reviewing and analyzing financial matters and a broad range of copyright/licensing issues. My legal background as a corporate/entertainment lawyer will be of assistance in understanding, analyzing, and negotiating complex issues faced by the Board.  My contacts with other independent music publishers around the world can also be helpful when the Board needs to look at solutions used in foreign jurisdictions to resolve our own Canadian domestic issues.  I am currently on the Board of Directors and Executive Governance Committee of CMPA; sit on the Board of the global organization The International Music Publishers Forum; am a current Director of SOCAN; belong to various industry organizations such as the AIMP; and sit on the Music Advisory Committee for the OMDC – and therefore bring insight from various groups and experiences within both a Canadian and global perspective. 

What issues, do you think, will be important to SOCAN members over the next three years?

Urban music (rap especially) has become the world leader in terms of business results. However, in French-speaking Canada, the niche is far behind compared to the rest of North America, and even compared to the rest of Canada. The niche is still developing, and one of the factors that limits the niche from fully developing is the lack of space that currently exists for this type of music with our major broadcasters. In addition, the niche requires more training for its members, because too often artists from the field are poorly informed about important practices in the publishing world. These two elements are important problems that must be addressed for the development of urban Francophone music in Canada.

How can you best contribute to the SOCAN Board of Directors?

As an important and well-known public figure in the world of French-speaking urban music, my role will be to serve as an interpreter between the two worlds. That of niche artists in the urban music world and that of the industry. It is necessary to educate the two interlocutors on the realities of the two parties. On the one hand, the creators of urban music have an incorrect vision of the publishing world, which causes strategic and industry related delays. On the other hand, the world of publishing and radio broadcasting have a mistaken image and a distorted understanding of what the world of French-speaking urban music has to offer. I believe I can serve as a bridge and translator between two worlds that are in dire need of more communication, so that the two parties take full advantage of their mutual presence in the music market.

What issues, do you think, will be important to SOCAN members over the next three years?

I believe that accessibility and engagement will be key issues for SOCAN members and potential members over the next few years. To me, accessibility and engagement are supported by innovation, representation and education.

SOCAN is the most innovative PRO in the world, and I am excited by the organization’s vision to lead in the international marketplace of music rights. I believe we must continue to invest in and develop infrastructure to increase speed, transparency, and ease of understanding of SOCAN’s data management, collections, and payment processes.

Representation is important. I see the value in continuing to grow SOCAN’s A&R department, and I am enthused to see the hiring of the first A&R representative, Rap and R&B. Expanding roles like this will help SOCAN strengthen memberships, revenues, and sign some of our country’s most promising talents before they break into the US.

SOCAN has invaluable knowledge for songwriters, composers and publishers at all career stages, and I believe the organization can establish itself as a thought leader in this space. As the ground under us continues to shift due to COVID-19, SOCAN can provide a much-needed foundation of support for its members through a unique understanding of their needs and progressive vision of rights management, revenue streams, and opportunities.

How can you best contribute to the SOCAN Board of Directors?

Throughout my career I’ve worked with artists, licensing, rights management, and royalties in many different contexts. From running a live venue and working on the agency side, to building my own Pandyamonium Management company over the last 25 years, and now my new independent label, publishing, and multimedia company: ArtHaus Media Inc. I have seen many sides of the music industry and have a strong sense of the role SOCAN plays in further developing the necessary foundations that allow Canadian artists and companies to succeed on the world stage — through administration, engaged membership, education, and more.

As a woman of colour leading an independent music and media company, I will bring a truly diverse voice to the Board, as I have done through similar director roles with the Unison Benevolent Fund and CIMA, as well as work with the JUNOs Music Advisory Committee and others. Through these roles I have developed a strong understanding of governance, policy, and strategic and financial planning, and as a proud SOCAN member, I am excited to bring these traits to the Board of Directors.

What issues, do you think, will be important to SOCAN members over the next three years?

The finalization of  SOCAN’s new system, whether it be for song registration or royalty distribution, is a priority for SOCAN members. The current delays and mishaps are causing many problems for both songwriters and publishers.  Communication between SOCAN and its members is essential. Another important goal is the rapid adoption of Bill C-10 (should there be a change in government, much of the work would have to be re-done). The Life of Copyright should increase from 50 to 70 years. Canada is the one of the only countries in the world with a 50-year life of copyright.

SOCAN must remain pro-active with regard to Tariffs, based on changing industry trends such as the digital boom, for example, and come up with solutions to mitigate the consequences of the pandemic, which is affecting writers and publishers.

Another priority for the Board of Directors: Review SOCAN’s vision, return to the heart of its activities, and remain a leader in the administration of rights.

How can you best contribute to the SOCAN Board of Directors?

The experience I have acquired from serving on many Boards of Directors has enabled me to comprehend the workings and the governance of a Board. I would be ideal to represent the interest of writers and publishers. My industry expertise, both on the Francophone and Anglophone level, my situation locally and internationally, as well as my knowledge of the workings of foreign societies, would be great assets to the Board. Often referred to as a resource in the music industry, my presence on the Board would be beneficial.

Extremely pro-active, I adapt quickly to the evolving and changing industry, and have good insight into the new technological and digital realities, which are now at the heart of our work.

My experience, over the next three years, would be an asset to help achieve the elements mentioned in Question 1, with Bill C-10 being top priority, as well as any new topics.  

The pandemic has had, and will continue to have, serious consequences on members’ revenues over the next few years. It is very important to anticipate and respond to all industry changes that may affect our members.   

What issues, do you think, will be important to SOCAN members over the next three years?

Aggressive competition for songwriters from international performing rights societies as well as new entrants.  Collecting international royalties from territories with poor reporting history.  Building SOCAN’s reproductive rights business.  Concerns over the recent predatory behavior of funds and investment firms pursuing writer’s share.  Better access to current data for SOCAN members through technology updates. 

How can you best contribute to the SOCAN Board of Directors?

Having years of experience as a publisher and as an artist manager gives me a wider lens in which to view the issues that face SOCAN and all performing rights societies. My extensive international travel has enabled me to collect a multitude of contacts and experiences.  Accordingly, I can see issues from a “global” perspective which should be an asset for the SOCAN board as it moves through this decade.

What issues, do you think, will be important to SOCAN members over the next three years?

Fair compensation for the use of our works in the digital realm: streaming services, digital radio, web TV, video games, applications (apps) or other web-related services.

Obtaining quotas for Canadian content in digital broadcasting.

Increased discoverability for Canadian works by Canadian creators on steaming services (audio and audiovisual).

Better catalogue management tools, transparency, data analysis and faster payments.

Promoting the role of creators and publishers: we are small to medium businesses with real economic clout, not simply a cultural value. Increase copyright protection to 75 years.

Collection of rights abroad: we need to increase our revenues outside of Canada and have access to more detailed and timely reports

What contribution would you like to make to the SOCAN Board of Directors?

Currently serving on SOCAN’s Board of Directors, I have become familiar with the workings of the Board and the management team, but more importantly, I have become familiar with the major dossiers and issues that affect or will affect the revenue and respect for the rights of our members. We are currently witnessing a lot of competition from the large foreign rights management organizations, but also from new players emerging from the world of new technology and the Web.

Moreover, as a Québec-based independent publisher, I am committed to defending the economic interests of Québec’s publishers and promoting our diversity. SOCAN’s distribution rules must take into account the specific realities of Québec’s market and its economic strength.

By working alongside creators and producers of audiovisual content from all kinds of environments, I’ve developed an expertise on the CURRENT market, as well as the expectations of its users AND creators.

That experience and my positive energy is what I bring and share as a member of SOCAN’s Board of Directors.