Good Canadian artists have always done well, although, they typically move to the US. Stuff like SCTV and The Kids in the Hall were popular because they were good, not because of CanCon rules. The government can certainly help in promoting them through websites, etc. but they always seem to want to jam them down our throats instead. (e.g. Nickelback – If I ever hear another Nickelback song I’m going to puke!) Usually this has the opposite effect: anything jammed down your throat immediately becomes incredibly lame. Canadian radio particularly sucks because of CanCon rules, which is why I only listen to internet radio and my iPod.

Anyways, any such regulations will be laughable and will only serve to crank up costs while people work around them.

I think they should subsidize the canadian online porn industry! CANPORN!

APOLOGIES THE TERMS, DO NOT SPEAK ENGLISH WELL … BUT TRY TO HELP.

Until now, when sailed over the Internet, we were forced to watch a bunch of ads on most Web pages, but no one for it.

Today is taking a new revolution within the network companies are starting to pay money for advertisements that make us see while browsing. So over the past few months have been paid by companies that you see your ads while you’re browsing, or to receive or send e-mail.

Moreover these companies are interested in having the maximum number of Internet users viewing their ads, and therefore encourage you to make more people know the existence of this activity. In reward for this collection of sailors we offer more money for the hours of browsing customers received. See, if you decide to join the program to offer any of the companies using associate telling you that my recommendation, you will pay for the hours navigated X dollars, and I am paid (not as much as you do) for the hours you sailed. If you do not register as my referral andalusia join you only pay you X dollars for the same time you’ve sailed, but the money they had charged me for your hours do not receive your navigation, it keeps the company. Therefore, you do not lose anything indicating that you are referring to my partner and I if I can win.

The page that I’m making money is

Bux.to

The first step to opening an account is absolutely free and safe in alertpay because through this account you will pay them.
Once your account alertpay
enter here (http://bux.to/?r=ferreyro076) and if you register that you register as referred to me not lose anything, but I helped raise something else, like what will happen when others are referring to yours, for it must make ferreyro076 in the box that says referral once registered revenue by your username and password and you are going to begin to SURF ADS.
The process seems simple, simply click on a link is a website for 30 seconds and you’re making money.
Pay $ o.o1 you see for each site and $ 0.01 for every site you see people you mean.
The minimum pay is $ 10 via paypal and you can charge every day.

This is the example they give you

You make 10 clicks per day = $ 0.10
You refer 20 people who make 10 clicks per day = $ 2.00
Your daily earnings = $ 2.10
Your weekly earnings = $ 14.70
Your monthly earnings = $ 63.00.

Not bad for starting and using about 5 minutes per day of your time.
Besides the example is to refer 20 people, imagine what happens if people mean more than that.
Today I could do 8 clicks and they will clarify that some days have more and other days will have less but what is really important here it seems the number of people can relate.

A very late post – but what the heck!

The history of the Can Con strife up here in the great white north is a long one, and it’s driven by one thing: the proximity of Canada to the USA, and the knock-on effect of Canadians being paranoid about their inability to address that large foreign audience, or appeal to their own countrymen.

Canada is essentially a country with 3x the land mass of the USA and less than the population of California. This means (until the rise of the internet) Canada has always been an isolationist culture, as 1/2 of our TV and most of our radio was only available to Canadians and was mostly created by Canadians (something the Can-Con laws shored up, to prevent all our media being bought). US TV and radio was receivable if you lived close enough to the border (as was the case for most of us) so it was easy to justify that Canadian networks did not need to show US produced content, as it was already freely available. Even with the advent of Cable, it was easy to regulate how many channels were available, as it was the cable providers who ultimately controlled what was piped to your TV, and they could compete better in a market where unique packages of Canadian speciality channels were available. This means, for the most part until the 1990s, it was easy to ensure that Canadian Content was delivered to Canadians by Canadians, and this resulted in a significant amount of investment in training programs to create a skilled community of artists and technicians, as well as heavy subsidization of a Canadian network of media outlets.

Ironically, the CanCon that has always been most successful is the work that is inspired by things outside of Canada. For the most part, Canadian culture has no problem celebrating it’s international successes, no matter how minor (hence the constant references to the “Canadianness” of people like Keanu Reeves, who was born in Israel and only went to school here for a few years) while generally regarding good work limited to a particular region as second-rate. Government funding of live arts outside the country is generally limited to “safe” art, meaning the most exciting and challenging work almost never leaves the country, or is under-funded when it does (as Canadians are now quite comfortable with the idea that all arts are naturally government funded, those artists which do not gain government funding are somehow less useful/professional/likely to succeed). This has led the international artistic community to regard Canada as “the great white waste of time”, producing very beautifully produced art that is of little relevance to anyone outside Canada. This has consequently made it harder for Canadians to succeed internationally, and the parochial nature of our artistic communities doesn’t help when we do get to work abroad and are faced with artists who are much more comfortable with competition and criticism.

The rise of the internet means two things to Canadians – our art can be spread to the world more effectively and cheaply, but at the same time we can now access any broadcast medium available, legally or otherwise, and there is no more control over the quality of what leaves our shores to represent us abroad. This is why, as a Canadian, I am considered the worst type of media consumer because I do not consider my nationality to have any impact on my desire to see/read/watch something. I have eschewed the CBC for years because of it’s piss poor content, and now use a VPN to get the BBC and Hulu in the US. To many Canadian artists I am considered a kind of traitor for not consuming more Canadian media, and it exactly the people like me who frighten most Canadian creative professionals.

The Canadian national response to the internet’s impact on our culture has been to make it more difficult and expensive for the average Canadian to produce much of anything. Our regulatory body (the CRTC) has approved the throttling of commercial and wholesale connections to the internet by Bell (which owns and maintains most of the country’s phone lines), creating a virtual monopoly, and the highest connectivity prices in the world priced by a company which has just admitted that it has woefully under-invested in it’s ability to manage the demands of it’s customer base. The performers unions have (with the recent exception of Actra) taken a protectionist stance, and demonized low-cost high-efficiency methods of distribution like BitTorrent and p2p software (essentially, criminalizing anyone who does not have a large production budget) giving credence to the corporate monopoly argument that bigger is always better and innovation only damages everyone else’s ability to get “the best deal”. In a country where most of the news media is owned and operated by the same corporations that own the major ISP’s, most of the coverage of these issues is biased and incomplete, leading the public to either misunderstand the issues at stake, or duped them into taking the side of the same people charging them a premium price while limiting their ability to use the net.

In short, Canada is already an isolated nation, disallowed from sharing in other online cultures by it’s “national independence”, and limiting the creative abilities of it’s citizens. Those that are active in the debate, and who also create professionally, are ranged into a disjointed anti-protectionist sector facing off against a larger, more ignorant but better funded body spearheaded by people like Colin Mochery (who ironically, got his start on the BBC, a public broadcaster, but is now an ardent commercial artist here in Canada, where he suggests our public broadcaster’s inability to stop his act from getting onto YouTube requires new laws to be put in place – clearly not a man with any sense of gratitude!) and other major figures who place self-interest and profitability above the freedom of their countrymen.

If the Canadian Broadcasting Corporation had been funded like the BBC (in a more reliable, less politicized way) Canada would already have a bastion of Canadian Content instead of a tiny, frightened, bullied broadcaster that CBC has become – saddled with the responsibility of justifying its subsidy, yet with its hands tied by the government’s insistence that it create populist work. Instead of creating a Canadian iPlayer and making their network content easily accessible (including an enormous back-catalogue of programming that would easily fund a subscription service), the CBC has been resisting becoming an online presence because of concerns over copyright agreements with it’s mostly out-sourced drama and comedy productions. I say this having argued with the head of CBC’s podcasting unit, who made it very clear to me that opening up CBC content to listeners/viewers outside the country for free is anathema to the Corporation’s current mindset (despite numerous releases of sub-par nation-building shows like “Who wants to be the next Prime Minister” via bit-torrent, most of which were fruitless ventures thanks to the throttling of p2p in Canada mentioned above).

Unfortunately, because it is a media outlet that is as commercially driven as any other broadcaster in Canada, and is now bound by its mandate to produce work that is only the most popular, most of the production companies creating work for the CBC are also concerned about their product being shown for free (like Mr. Mochery) and so they also favor regulation as it will gain them a secure, captive audience base in Canada. How this is supposed to improve international sales is beyond me, and beyond most people who have ever lived outside of Canada. The CBC’s position seems to be: putting more of their content online would be expensive (not with p2p for distribution, although that is not possible now thanks to Bell) and risky (assuming an inordinate number of people will try to steal/torrent work that could generate cash – a backwards argument considering how tiny that amount is, or how beneficial it would be to seed little-known work to an international audience to create buzz). If you look at the success of the BBC’s online work, it’s almost like the decision-makers in Canada look at that success and think “nope – not for us – we’ll do the opposite.”

So in short – the Canadian audience IS dumb, because they have been trained to be after 50+ years of an over-reliance on “local” work that is celebrated because of it’s origins and not it’s relative merits. This ingrained ignorance is probably what has led to four major corporations curtailing Canadian’s ability to make the most out of the next ten years of net growth, and the common view that highly efficient means of distributing content are somehow unfair to the public and quasi-criminal. This has produced a nation of professional creatives who resent the internet’s ability to distract their previously captive audience, and who have no problem with curtailing the ability of their country to rise to the challenge of a 21st century where the world throws it’s culture into one big pot and lets the cream rise to the top. Whereas before, Canadians would leave their country to participate in a cultural industry with a broader, more diverse and larger audience, now they are in a position where they must leave in order to find the resources they need to start-up any kind of digital production company – much less peers to work alongside who won’t see them as a threat to the status quo.

So the rest of the world shouldn’t be concerned – Canadians with lots of training will be leaving in droves if the regulation comes in, and those that come your the USA or UK’s way will probably love the freedom of being able to get-on with their creative work without having to constantly justify themselves or their ideas. Those Canucks that stay behind will either get a steady stream of work, or spend their lives waiting tables in hopes of their next “big break” while eyeing their peers with suspicion and calculating how many shows they need to be seen at this month to qualify as “active in the community” and ensure that next peer-reviewed grant comes through. You can be sure they will be happy to embrace their miserableness, and call you un-Canadian if you try to help them out of it.