SOCAN mobile appSOCAN has launched a fresh new look for our redesigned mobile app. We created the new version in order to present the same great features with a cleaner, sparser design, for greater readability and ease of use.

The mobile app will continue to offer our members 24/7 access to a wide array of functionality, wherever they are. If you’re a SOCAN member, you can still browse your catalogues, calculate your performance royalties, and review your statements on the go. Whether in the studio, a hotel room, or travelling to a gig, you can access your SOCAN account anytime, anywhere.

If you’re a business Licensed To Play with SOCAN, you can continue to use our unique “license finder” tool to determine which ones apply to your situation, and easily calculate your license payments.

Any visitor to the app can catch up on Canadian music news, become a member of SOCAN (if they create or publish music), explore the discounts and benefits that come with a SOCAN membership, and learn more about what we do.

If you don’t have our app yet, download below and enjoy it today! And if you’re one of the many thousands who already use the SOCAN mobile app, be sure to update it for a fresh new look at our fresh new look!

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Music publisher and rights management company ole has announced that music industry veteran Helen Murphy has succeeded Robert Ott as CEO, while Ott will continue to serve as an advisor to Murphy and the ole Board of Directors.

Said Murphy, in a statement, “Given the ever-increasing ways people have to consume music, I believe we have an incredible opportunity at ole to continue to create value for our songwriters, our artists, and our global production music and intellectual property business partners. I look forward to working with the team at ole.”

Murphy is founder and President of International Media Services (IMS), a company that provides strategic and financial advice to clients in global media and entertainment industries.
Prior to IMS, Murphy was Executive Vice President and CFO for the Warner Music Group. In 2012, Murphy was the lead negotiator for Sony to acquire the EMI Music Publishing catalog for $1 billion. She has also previously held a series of senior financial positions, including CFO at Polygram Music Group.

Murphy’s track record, industry knowledge, and creative relationships are expected to lead the next phase of ole’s growth and development.

A discussion panel titled “Quand le Québec fait pop au féminin” was presented by SOCAN and Coup de cœur francophone at Montréal’s L’Esco on ;Nov. 6, 2018. The guests were SOCAN members Caracol and Laurence Nerbonne; Audiogram’s Alixe HD; and Carmel Scurti-Belley, in charge of creation and licences, and Judith Cossette, in charge of artist management, both at Dare To Care Records. The panel was hosted by SOCAN’s Chief of Québec Affairs, Geneviève Côté.

The objective of this round-table discussion was to define, and comment on, the issues faced by female pop artists in Québec who can barely reach even some semblance of parity in the music business, whether in media, onstage, or in the industry in general.

CaracolThe discussion was captivating, despite the revealing metrics exposed by Geneviève Côté when it comes to the number of songs by female artists on the charts, or the quasi-non-existence of female record producers. For Caracol, who offered a short performance to conclude the event, “it’s also a question of confidence. We sometimes have a hard time taking credit for what we accomplish. We’re always looking for the validation of others, often men, to feel like we’re standing on our own two feet. We need more female role models who’ve taken their creative destiny in their own hands. I’m thinking of someone like Foxtrott, who does everything on her own, and collaborates with others. We need more like her.”

Laurence Nerbonne agreed about being self-confident: “We need to do what it takes to take our place as the producers of our own albums and — why not? — those of others. But on the radio, we have to fight against Rihanna, and the like, who have armies of collaborators. Achieving this on your own isn’t easy. We have work to do as women to become qualified as pop music producers. I’ve always said that things will start to change when a girl produces a guy’s album.”

As for radio play, Alixe HD said that “some musical directors think their 35-year-old audience doesn’t like female voices, and even hesitate to program two consecutive songs by female artists…”

The issue of a potential airplay quota of female songs was raised. Without clamouring for such a quota, Judith Cossette said she was saddened by the fact that there wasn’t a single woman in the house band at the Gala de l’ADISQ. “I think it would be nice to make an effort to invite more women for that kind of event,” she said, provoking a loud cheer of approval from the mainly female audience.

Creatively speaking, Carmel Scurti-Belley stressed the importance of song camps such as SOCAN’s Kenekt Québec event, “which allowed artists such as Stéphanie Boulay or Ariane Brunet to dabble in various pop formats.”

Caracol observed that “there are some changes beginning to take place on commercial radio as far as Québec’s pop is concerned, but when you look elsewhere in the world, the musical offerings are much more diversified than they are here, where we still have a strong bias towards folk.”

In short, a lot of things to ponder that will hopefully lead to more discussions during Coup de cœur francophone, and beyond.