CRTC turns down Astral/BELL deal. Toronto radio scene can go back to sleep now.

On October 18 the CRTC announced it's much anticipated ruling on the proposed merger of BCE and Astral Media. For the better part of a year there has been a serious lobbying and media campaign to stop the deal led by competitors such as Cogeco, Eastlink, and Vidéotron. The last of which are owned by the right wing Québecor Média (QMI), who also own SUN Media and have become notorious for their campaigns attacking the CBC as well as government grants and funding for the arts in general, all on behalf of the poor oppressed tax payers of course. Mind you this is even while QMI blithely takes millions of taxpayer funded grants themselves (something the CBC famously revealed and which I have already written about).
In fairness the anti-merger group did have some genuine grass roots support from consumers groups worried about concentration of media ownership and raising fees as well as less choices in programming. But I'm pretty sure they weren't behind all the anti-merger ads I've been seeing.

Still most smart money has been confidentially predicting that the merger would be rubber stamped, and that's not even counting the usual suspects with their conspiracy theories about the CRTC's "EVIL CORPORATE AGENDA" (cough..NCRA..cough) which makes the CRTC's ruling a bit of a surprise.



From the CTRC ruling;
"Conclusion
67. The Commission has reviewed BCE’s proposal, as well as the comments received in response to Broadcasting Notices of Consultation 2012-370, 2012-370-1 and 2012-370-2. As noted above, the Commission must evaluate applications for a change in effective control against the objectives set out in the Act, as well as its own policies and regulations. The Commission considers that the concerns related to competition, ownership concentration in television and radio, vertical integration and the exercise of market power are very substantial and fatal to the application.
68. The Commission finds that BCE has not discharged its burden and demonstrated that, on balance, this transaction is in the public interest. The benefits proposed would advantage BCE and its services, but the Commission is not persuaded that the transaction would provide significant and unequivocal benefits to the Canadian broadcasting system and to Canadians sufficient to outweigh the concerns described above.
69. Accordingly, the Commission denies the application by BCE Inc., on behalf of Astral Media inc., to change the effective control of Astral and its licensed broadcasting undertakings so that it is exercised by BCE (application 2012-0516-2). In light of its decision, the Commission has not made determinations on other aspects of BCE’s application, including the value of the transaction.
70. The Commission notes the objections of numerous interveners with respect to the application by Bell Media Inc. and 7550413 Canada Inc., partners in a general partnership carrying on business as Bell Media Canada Radio Partnership, to convert CKGM Montréal from an English-language to a French-language commercial radio programming undertaking (application 2012-0573-2). These objections related to, among other things, the integrity of the Commission’s licensing process and the loss of an English-language broadcasting service to an official language minority community. At the public hearing, BCE indicated that in the event the proposed transaction was denied, it would continue to operate CKGM Montréal as an English-language station. As a result, the Commission denies this application. Therefore, the licensee will continue to operate CKGM Montréal under the terms and conditions in effect under its current licence.
71. Similarly, the Commission denies the following related applications, which BCE indicated were contingent on approval of the proposed change of control of Astral:
applications by BCE Inc., on behalf of certain of its licensed broadcasting subsidiaries, to effect a multi-step corporate reorganization involving the transfer of the assets of 33 Bell Media radio stations to seven partnerships or corporations, requiring the issuance of new broadcasting licences (applications 2012-0701-9 and 2012-0736-6); and
application by BCE Inc., on behalf of Astral Media inc. and certain of its licensed broadcasting subsidiaries, to effect a corporate reorganization involving the transfer of the assets of certain broadcasting undertakings to companies to be incorporated, requiring the issuance of new broadcasting licences (application 2012-0735-8)."

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What this means for radio is that a number of radio stations which Astral would have had to divest (sell off) in order to comply with existing ownership rules will now stay where they are.
BCE owned stations in Toronto include 1050 CHUM AM (TSN), 104 CHUM-FM and CKFM (Virgin Radio);



Informed speculation about the FM stations BCE were most likely to divest following the purchase of Astral Media based on performance are as follows:

City ~ Call letters/freq. ~ Station name and format ~ Share/Rating
1. Vancouver CHHR/104.3 Shore-FM, AAA 1.6/16th
2. Vancouver CKZZ/95.3 Virgin Radio, adult contmp. 7.2/5th
3. Ottawa CJOT/99.7 Boom, classic hits 1.5/14th
4. Ottawa CKQB/106.9 The Bear, active rock 3.5/11th
5. Calgary CKCE/101.5 Kool, adult contemporary 3.4/13th
6. Winnipeg CHIQ/94.3 FAB, ’60s/’70s hits 4.9/10th
7. Toronto CHBM/97.3 Boom, classic rock 5.7/7th
8. Toronto CFXJ/93.5 Flow, hip-hop 1.4/19th
Or they could have sold off the latest money loosing version of the former iconic CHUM AM, now an all-sports station called "TSN 1050". (I have already written about this as well).



Note the two Toronto stations. ASTRAL also had originally put in an application for the vacant 88.1FM frequency last year but then withdrew once the proposed merger was announced and before they had a chance to reveal what exactly they had in mind. Not that there was any guarantee they would have beaten out the winning INDIE 88FM application anyway.
Speaking of which the CRTC also recently announced that the call-letters for the new INDIE 88 will be "CIND".

At any rate this means that the after three years of uncertainty in the Toronto radio scene the status quo has been settled. The FLOW and BOOM 97 are not being sold, and probably not changing format either. Unless ASTRAL change their mind of course, but at least they don't actually have to. Some of those various corporate types who applied for the 88.1FM frequency and got turned down and who have been lurking around to see if they might get a second bite at the apple by buying one of ASTRAL's cast-offs can now go home thanks.

Toronto Radio; Out with the Old, In with the New

This spring Toronto had one radio station finally go off the air for good while another finally won it's battle to go on the air. Still another once proud radio icon engaged in yet another one of it's revolving door format changes.

First the deceased;



CKLN 88.1fm was a campus/community radio station based at Ryerson University since 1983, or earlier depending on who you ask. Over the years a lot of good programming went on there and the station was quite influential on the Toronto music scene. Some talented people got their start there, Handsome Ned, Mean Steve Piano, Sucking Chest Wound, Jill Heath, Brian Taylor, Bill Grove, David Scurr, James Bailey, Arnie Achtman, The Blue Demon, Mike Hanson, Gerry Belanger, Charles Watson, Jaymz Bee, DJ Barbie, Dave Neudorf, Michie Mee, Freedom in a Vacuum, The Tape Beatles, Chris Twoomey, Ian Danzig. A bunch of people who later went on to The Flow and CBC and Exclaim Magazine. Oh and I did a show there too for several years before moving to CIUT.

Unfortunately like a number of other campus/community radio stations in Canada CKLN was also full of professional DJ's and show promoters who used CKLN to make money on the side and also became a haven for a cadre of fanatical left wing activist types who engaged in their usual vicious sectarian infighting that inevitably tore the place apart. In 2008 the left wing groups staged coup to seize control of the station. After a year long campaign of harassment, slander, nuisance lawsuits, frivolous complaints to the CRTC, threats and occasional violence backed by the equally leftist Ryerson Student Union (RSU, who also withheld the station's funds to force it into bankruptcy) the leftists got their way. But only after the RSU actually seized the station itself, changing the locks and forcing it off the air for seven months. Unfortunately for them after getting the run of CKLN it turned out that left wing activists didn't know the first thing about running a radio station. So after several months of jaw dropping incompetence the CRTC finally called hearings to decide if the whole sorry embarrassing mess should be allowed to continue. The hearings happened in December 2010 and I testified as a witness. There is no room here to go into the hilarity of the proceedings and the awe inspiring ineptitude of the new CKLN management but suffice it to say the CRTC was not impressed and ordered the station shut down for good. CKLN tried to fight this shut down order in court and via a public campaign claiming "corporate censorship". To the surprise of absolutely nobody the court challenge failed and the public campaign fizzed out and CKLN finally went dark this April.

The Torontoist had the best article about the CKLN debacle which I can't improve on so here it is;

"Timeline: Why CKLN Radio's Broadcast License Was Revoked
by Steve Kupferman on January 28, 2011 3:30 PM

Today the CRTC revoked the broadcasting license of radio station CKLN—an independent community-run radio station located in Ryerson University's campus (and largely funded by its student union) but not officially affiliated with that institution—citing the station's failure to comply with federal broadcasting regulations for the past three years. The decision document announcing the revocation is an epic catalogue of alleged violations, some of them outrageous in their negligence. But the document is long, and you have stuff to do. So we've boiled the whole thing down to a series of key points.

August 13, 2007: The CRTC renews CKLN's license for a term of seven years.

Between August 2007 and March 2009: CKLN is riven with internal disputes. The station fires staff and volunteers, and eventually elects competing boards of directors. (A case concerning the competing boards is currently underway at the Ontario Superior Court of Justice.)

The Palin Foundation, the building manager for Ryerson's Student Campus Centre (where CKLN has its studio), locks staff out from March 2009 until October the same year. During the lockout, rather than its usual programming, the station plays a recorded loop of a jazz program, complete with spoken commentary. CKLN is denied access to its transmitter at First Canadian Place, so broadcasts are intermittent.

July 2, 2009: After hearing complaints about CKLN's alleged "ongoing difficulties with its governance structure," CRTC staff sends a letter to CKLN requesting responses to the accusations.

September 14, 2009: CRTC staff members meet with representatives of CKLN to discuss the station's compliance difficulties. Face-to-face meetings of this kind are not something the CRTC typically does.

September 17, 2009: CRTC staff sends another letter to CKLN, requesting information on the station's operations and governance structure. The letter informs CKLN management that the station hasn't filed its required annual returns with the CRTC for the past two years.

October 6, 2009: CKLN files its response to the CRTC's letter of September 17. It promises to hire paid management staff and resolve its internal difficulties.

February 10, 2010: The CRTC sends CKLN a letter requesting tapes, logs, and program schedules relating to the week of January 10, 2010. CKLN sends the tapes on time, but files the schedules and logs almost two weeks late. The tapes are full of static, and they don't match the logs. Later, the CRTC reiterates an unfulfilled October, 2009 request for tapes and logs from June 2009 (which was during the lockout period) and again CKLN sends them after the deadline. When a CRTC staff member asks why the material is late, a CKLN representative says that the person responsible for sending the stuff was "in the Caribbean for a month.

March 1, 2010: In response to the CRTC's continued insistence on receiving those required annual returns, CKLN sends a letter saying that it has "no knowledge as to why the returns had not been filed," and that they'll be in the mail within a few days.

May 12, 2010: The CRTC adjourns a public hearing on CKLN's alleged regulatory violations, but requires CKLN to file monthly reports beginning June 14.

July 7, 2010: A scheduled host doesn't appear at the station for his or her show, and so a CKLN volunteer broadcasts the online stream of a Seattle, Washington, jazz radio show as a substitute. The CRTC takes this and other lapses as evidence that the station's infighting is ongoing. CKLN has not hired management staff and is still controlled by a "working board."

September 14, 2010: CKLN tries to file its annual return for the broadcast year of 2006/2007 with the CRTC, but sends in the wrong form.

October 13, 2010: CKLN tries to file four years' worth of annual returns with the CRTC, all at once. But the data for each year goes only until April 30—the CRTC requires data ending August 31. CKLN promises to file corrected returns within a month, then doesn't.

December 8, 2010: The CRTC reconvenes the previously adjourned public hearing on CKLN's alleged violations. Ron Nelson, head of the station's working board, tells the CRTC that the board has no experienced guidance. "We have never been a program director at a radio station before," he reportedly said. "So we had to do a lot of consulting with the NCRA and other radio stations and their program directors, such as CHRY and CIUT, to find out how to do our job properly."

January 28, 2011: The CRTC revokes CKLN's broadcast license, effective February 12."



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On another note, not an entire radio station but rather the last remaining shred of a once respected radio station's glory years. In the 1980's CFNY was Toronto's Alternative, Toronto's New Wave. Then at some point in the late 1990's they changed formats, substituting new wave for Madonna and (gasp) Phil Collins. There were protests, mass firings and resignations, an ownership change and CRTC hearings, which I also testified at come to think of it. The new owners promised to bring back the old format and foster new talent. Instead there were more mass firings and a re-branding as "The Edge 102.4" whatever that means. One of those few from the glory days who managed to survive was DJ Alan Cross. But only just. In 1992 he was given the choice of doing a new project of doing a historical retrospective show called "The Ongoing History of New Music" which would give The Edge some CFNY gravitas. Or Cross could dust off his resume. He reluctantly chose to do the show and given his deep musical knowledge and research skills honed when he had earned a history degree he was able to turn it into a much respected show. Recently he was unceremoniously dumped off the Edge who have long ago learned that gravitas doesn't sell nearly as well as marketing. Sometime this year CFNY also closed their street level audience friendly studios at the Eaton Center. Speaking of which this year Q107 also closed their street level studios across the street at the Hard Rock Cafe. Why in an age when radio is under challenge from newer user friendly media forms these corporate geniuses would want to isolate themselves from the public I'm sure I don't know. But then again I also couldn't for the life of me figure out why CKLN's far-leftist fanatics wanted to turn that place into an insular sectarian cult either. Hey how did that turn out again? Oh right.

Alan Cross in action;





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Now for the new;

The Caribbean Radio Network (or CARN) has been pushing laboriously for a license since 2002 and after having been shot down a few times finally got permission from the CRTC to broadcast at 98.7fm in June. CARN Had to get past objections from the CBC (because of their fears that CARN's 98.7fm signal would interfere with the CBC's 99.1fm signal) as well as unrelated objections from Rogers, Astral and CTV (because they're dicks). Also Ron Nelson from the soon-to-be corpse of CKLN also complained on the air calling CARN "vultures" for having the temerity to claim that CARN would be "The Voice of the Black and Caribbean Communities in Toronto" a role that CKLN had claimed. It has been noted that once upon a time The Flow made the same claim only to abandon that role to become a more mainstream (and more profitable) station. For that matter the same has been said about CFNY and Proud fm so we shall see. CARN is not actually on air yet and there will be a delay while they get ready, they will also probably have different call letters.

On another note there is the never ending saga of 1050 CHUM am. Once the powerhouse of Toronto rock radio from the 1950's to the early 1980's. CHUM ruled the roost in Toronto for twenty years presenting everyone from Elvis to the Beatles and could claim the title of "The Voice of Young Toronto". The CHUM Top 30 charts became a fixture and eventually branched on to a television version as well. The owners of CHUM Group also started a CHUM FM sister station as well. I have fond childhood memories of all of it. However times were changing as AM lost ground to FM and top forty lost ground to more specialized rivals like the avowedly hard rock Q107, the new wave CFNY and more eclectic campus/community stations like CKLN and CIUT. CHUM seemed not to notice times were changing until suddenly in the mid eighties it's ratings finally tumbled dramatically. In 1986 they switched from Top Forty to Adult Contemporary Soft Rock and Pop, then in 1989 they went to Golden Oldies. When that didn't work they suddenly gave up on music entirely in 2001 to become an all sports station, ignoring the fact that Toronto already had an all sports station. That turned into a disaster and the ratings cratered completely so they desperately switched back to golden oldies only a year later.

They never recovered from this debacle and in 2007 when the network was sold the new owners, CTV, abruptly switched formats again to a 24 Hour news station, once again ignoring that Toronto already had such a station. This time it was widely assumed that the new CHUM was just making time by running a shell station since there was no actual programming at all, just a direct feed from the Cable Pulse 24 television channel, which led to some odd moments when the television announcers referred to video images that the radio audience (assuming there was one) could not see and long unexplained silences. This year brought another change back to...wait for it...another all sports station. This time they took the time to plan it out and got a fair amount of press attention for the big switch over to what they are now calling TSN Sports Radio. Whether there is still any point to having another sports station in Toronto remains to be seen. At any rate the long winding road of CHUM and CKLN is a unique one in the history of Canadian radio for better or (eventually) worse.

The unspoken legacy of Much Music

2009 marks the 25th anniversary of Much Music, Canada's answer to MTV and oddly nobody seems to have noticed, including Much itself which has chosen to downplay this event for some unknown reason. Perhaps they fear their core audience of fifteen year-olds will be creeped out by old footage of Terry David Mulligan or Kim Clark Champnis interviewing Bryan Adams in 1985, I know I am. Perhaps they know that anyone who was a fan back in the day (as I was) stopped watching Much over a decade ago and could not possibly care less if the station was there or not anymore.

Let's not take up time stating the obvious, Much is manifestly superior to MTV in every conceivable way. Actually let's take some time on this because Much in fact played an important role (along with some other factors) in the way that the Canadian music scene evolved in the 1980's and 90's in ways that Canadians barely notice.

EXHIBIT A: THE SHADOWY MEN;




We all should know by now about the role that CanCon played in fostering a serious domestic music industry in the 1970's by literally forcing radio to play Canadian music, which in turn made homegrown record labels a viable concern. Positive as these steps were this was only a step (or two) in the journey. In spite of what the CBC's various worship-full documentaries say, and with all due respect to some notable exceptions, much of the music put out by Canadians in the 1970's were bland, derivative versions of American AM radio fare. What was still lacking was the kind of variety that would require a nationwide underground, eclectic, alternative scene that could go in a dozen directions at once while still holding the center in a country that is fiendishly difficult to tour in ways that British or even Americans can hardly understand. This would also require an openness to the new sounds coming out of England and the USA.

It is with this last point that Much Music proved it's worth from the start, inheriting the tradition already set by "The New Music", a groundbreaking music news show also owned by City TV (who owned Much) which had been going for a few years already, and who would share many hosts and VJ's in the early years, Much started out with a very different mindset than the American MTV.

EXHIBIT B: THE GRUESOMES;



MTV was built on the vomit-inducing model of American top forty radio, "All the hits, all the time", with vapid VJ's bantering meaninglessly in between short sets of video clips which came from a limited playlist. Nothing surprising, nothing off-center, nothing new, nothing that might offend the folks in Utah. And in the beginning, absolutely nothing black, at all, literally, until Micheal Jackson's clout forced them to open up ever so slightly.

"The New Music" was the first attempt at creating a music magazine like Rolling Stone for T.V. And it happened in Canada. America had MTV and before that, lip-synched performance shows like "Solid Gold" and "Midnight Special" along with Casey Kassem's "America's Top 40". Britain had their own performance shows like "Top of The Pops" and "The Old Grey Whistle Test". These all were just variations on the templates laid down by Dick Clark in the fifties, and by the punk and post punk era they were dangerously out of touch and as credible as the "Muppet Show", and not nearly as funny. But we had "The New Music" which did serious and semi-serious interviews with artists and entire genres that would never be heard elsewhere; New Wave, Post-Punk and Metal bands from England, Roots Rock, Hardcore and Thrash bands from America, Euro-techno and Industrial from Germany, Reggae, World Beat and later Hip-Hop as well.

EXHIBIT C: SLOW;





Both "The New Music" and "Much Music" were owned by CITY TV/CHUM Radio and therefore Much could build on the foundations laid down by New Music. So right from the start Much was far more eclectic than MTV ever would be, playing the whole variety of musics that New Music had already blazed a path for. Much also followed the same CanCon regs that radio had to follow, but unlike commercial radio they were not satisfied to simply play the token top forty CanCon hits, Much even had the "Indie Street" show to focus on low budget indie videos by unsigned Canadian bands. The cause of indie and alternative CanCon was helped by the support of Video Fact grants that help fund the making of low budget videos that could actually have a chance to get played thanks to Much and New Music. There was simply no equivalence to this on MTV or BBC, still isn't actually. This meant that bands like Deja Voodoo, The Gruesomes, Slow, Ray Condo, Blue Rodeo, The Razorbacks, 54-40, The Grapes of Wrath, Skinny Puppy, Change of Heart, The Shadowy Men, Martha & The Muffins, Breeding Ground, The Payolas, Sturm Group, Death Sentence and Voivod could get their videos, which ranged from the fairly cheap to the laughably cheap played as if they were almost as important as top 40 fare. And clearly way more cool.

CHANGE OF HEART ~ "TEN MILES AWAY";


Remember the cheapo videos like The Shadowy Men's puppet shows? Or Ray Condo's cartoons? Or Sturm Group running around the Scarborough bluffs waving swords looking like a pasty Conan The Barbarian? Or Skinny Puppy's morbid super 8 performance art bloodfests? They must have cost all of two hundred dollars to make, not counting the pizzas and beer. Then there was the ultimate in clueless Canadiana; April Wine's video for "I like to rock" in which our boys take time out from a busy day in the studio to play some tabletop hockey and brew some coffee. Only in Canada you say? Pity. God how I miss them all.

EXHIBIT D: APRIL WINE;




They were also helped by the fact that the established acts like Rush, Triumph,Trooper, not to mention earlier dinosaurs like Burton Cummings and Gino Vanelli at first refused to make videos at all, and later only grudgingly and poorly. The same thing was happening in the USA with the likes of Journey and Boston sulking on the sidelines as New Wave and New Romantics bands breezed by them. Some American critics are still bitter about this. It is a fact that relatively fewer American bands of the early eighties bothered to make videos at all, they were too expensive to make if they weren't going to get played on MTV anyway. And there were no Videofact grants for them. The lack of videos from this era is actually a real loss American music, although there were a few exceptions. The Ramones, Fleshtones, Blondie, Cramps, Lords of The New Church, Long Ryders, Iggy Pop, Motels, Talking Heads, Joan Jett and a few others did make some videos as did the Stray Cats after they moved to England, which doesn't count. However for the most part they were ignored by MTV and only got played on Much anyway. The lack of videos of the likes of The Gun Club, Jason and the Scorchers, Mission of Burma, Replacements, Rank and File, Blasters and even early REM is inexcusable and it's MTV's fault. If it weren't for "The Decline of Western Civilization" and "Suburbia" we wouldn't have X, TSOL, Black Flag, Circle Jerks, The Germs and D.I. footage either. In Canada or even Britain and Australia they all would have made videos as a matter of course, and they would have been played too.

EXHIBIT E: RAY CONDO;





Of course Much was hardly alone here. CBC joined in with "Brave New Waves" and a network of campus and community radio stations would grow up including CKLN and CIUT (both of which I worked at) in Toronto. Ironically even though the Chum/City group also owned the most powerful radio stations in Toronto (and a number of other cities), they kept those operations separate from Much and New Music which left an opening for upstart CFNY to fill. There would also be a network of magazines like Nerve, Reargarde (which I wrote for), What Wave and Graffitti and weekly papers like Now Magazine (in Toronto) and in most other Canadian cities. But Much was in the unique position to act as a nationwide unifier and by and large they did.

VITAL SINES ~ "COLLAGE";


This openness to music beyond the mainstream meant that most of the Post Punk and New Wave sounds coming out of Britain now actually came to Toronto first to break into North America where they would have once treated Canada as a backwater of the USA. This meant that British bands like U2, Simple Minds, The Cult, The Cure, OMD, the Banshees, Jesus and Mary Chain and virtually every other contemporary hit here first, Aussies like Midnight Oil and INXS would follow as would reggae and world beat. You could even occasionally see the likes of serious weirdos like Cabaret Voltaire, the Severed Heads, The Virgin Prunes, Laurie Anderson and SPK who probably couldn't even spell MTV. It actually got to the point where even some American bands were actually more popular here than they were at home, including REM and Steve Earle.

EXHIBIT F: SKINNY PUPPY;



The spinoffs this had for enriching the scene in Canada are impossible to measure. Once upon a time Canada was a backwater known for crappy cover bands where anyone with real talent and ambition had to go to New York or L.A. to get signed. And where international bands largely ignored or treated as a stopover on their way to New York. That is no longer true at all. Much played a big role in this evolution, they weren't the only player, but they were vital in pulling local scenes together and one shouldn't forget that.

EXHIBIT G: BLUE PETER;




It's true that in the past decade or more Much has become bland, glitzy, commercial and predictable, so has CFNY. Graffiti, Nerve and Reargarde magazines are long dead and were replaced by Exclaim and Chart which in turn also became more commercial and bland. "Indie Street" is long gone and when New Music finally gave up the ghost a couple of years ago few noticed or cared. But it also true that MTV has declined even more to the extent that even the mention of MTV as playing videos at all is considered a punchline. Much branched off into various specialty channels for punk & metal, hip hop, retro 80's, country, latin and french which segregated the audiences and diluted the variety and unpredictability of the original. While Much may be a pale shadow of it's former greatness one shouldn't totally forget that greatness once existed, even if Much seams not to care. Those who grew up with Much can take a minute to reflect on memories that go beyond mere misty eyed nostalgia. Sometimes the old days really were better. So thank you Much Music, glitzy warts and all.

EXHIBIT H: THE NILS;



P.S. I planned on including the videos for Sturm Group's "Twenty" but it's not on youtube damn it. However by way of bonus we have this Indie Street segment from 1983;