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Canadian Content Rules

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Back to the early 1970s, people from CRTC (Canadian Radio-television and Telecommunications Commission) felt anxious and threatened when they became aware of American Cultural imperialism had a big influence on Canadian Cultural Identity which made the latter to diminish. To solve this crisis, CRTC adopted Canadian content rules (CanCon) to govern the percentage of the music with Canadian content should be played from radio stations until now. Theoretically, this regulation could cause Canadian talents to rise and support the Canadian music industry. Also for Canadian artists, they would get more opportunities to let the masses to hear their music. However, from my point of view, CanCon works the opposite way. Reasons are as follows.
First of all, Cancon is meaningless since it holds everything still instead of changing the music industry for Canadian artists to blossom. In many cases, people cannot refer the accomplishments of well-known Canadian bands or artists to CanCon’s successes because CanCon did no help when these artists started their early career. Rush band is a typical example to prove this. Rush had limited local popularity until a song from their first album was picked up by a DJ in Cleveland for her play list, then the album was released in U.S to make them become famous over the world. At that time, CanCon has already existed but doing nothing. Although the purpose of CanCon is to help artists to build solid foundation, great popularity in Canada to break the pattern, meaning in order to get recognized in their home country, artists are usually required to reaches a peak of their career in U.S or Britain, it cannot be denied that the pattern is still there, even now. Because the American and British music business...

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