There have been countless pieces written on the importance of developing Canadian talent. It’s our frustrating lot as Canadians in the entertainment business that we even have to consider such a subject. It suggests that not enough is currently being done to support our talent and, worse, it suggests that because of this, we are not competing, as we might be, on the world stage. So if this is the case, then why? Why do we not support Canadian talent?
I’d like to believe we want to. So then I wonder if there’s actually something about our national identity that discourages young creators to go for it, to break new ground and create something never before seen or done. Is Canada anti-entrepreneurial?
It may be a simple matter of geography. Our conservative colonialism becomes extremely pointed when seen in light of our capitalist powerhouse neighbours to the south. Up here we prefer individuals to go an institutional route; down there they prefer trailblazers. They value risk; we value stability. After all, we have it pretty good. So why rock the boat?
We must rock the boat for four reasons. First, in order to promote uniqueness (the opposite of sameness, and the basis of competition). The more different ideas that circulate, the more that individuals feel empowered towards difference of opinions. The more empowerment, the more competition. The more competition, the more innovation. In other words, sameness is the enemy of innovation.
Second, we need to rock the boat if we want to value what the next generation has to offer. It’s all fine and good to enjoy what our parents created and what we ourselves create, but there is a goldmine of new approaches being considered by a younger and, frankly, more relevant demographic.
Third, this is the entertainment business! It’s built on risk and instability. The fact that our Canadian entertainment business focuses on stability is the thing responsible for the dreaded “brain drain.” The lesson here: encourage risk at home, and keep the next generation here.
Lastly, if there’s a boat, it needs to be rocked. Systems need continual shake-ups. New voices guarantee a constant re-invention and testing of the system at work, which must change in order to remain current. Once we accept risk into our system, only then can we compete.
Competition ensures that individuals and companies work to improve their wares, which in turn ensures that a culture moves forwards. It is essential for any kind of artistic or economic growth. Canadians seem to find competition rude or egotistical, hoping instead to be successful internationally by doing business in a conservative, equal and stable way. While being Canadian about competition might win us some friends, it won’t earn us many dollars. We cannot compete in an American-based system by using Canadian values. It’s like hoping to survive on a desert island by means of a life-jacket: it might be effective somewhere, but not here.
So where is here? Thirty years ago it seemed our television shows had to be about Canada. Now we understand that Canada is about many things and many people, a young country still developing its personality. This is nothing to disparage! Quite the opposite: it’s an exciting, liberating truth that frees us to be whomever we wish. International successes like Being Erica, Rookie Blue or Flashpoint are pointing the way. These are not shows about Canada, they are created by Canadians or take place in Canada, without direct comment on “what it is to be Canadian.”
We need more of this. We will get more of this by pressuring those in charge to develop Canadian talent. If the young are not supported and allowed to be innovative, there is no future, or at least not here, and they will continue to move to a place that wants what comes naturally to them: thinking differently. We need to forget about trying to pin down what it is to be Canadian, and get on with the business of being Canadian, or rather, get on with Canadian business.
So how do we change all this? My answer won’t win me any fans. We can change all this if we’d just be a little more American.
Before you start heckling, I need to make it clear this doesn’t mean we should be like Americans – they are very good at that themselves – and further, I count myself a proud Canadian: witness this apology at the outset of an assertion as proof. All I mean is that there are aspects of the American system that we could stand to incorporate into our own. Like risk.
Remember: Canadians don’t like risk, so you want to make them feel safe while risking. In other words, give people a product they want (or don’t know they want) in a new and clever way with enough of the old mixed in so it all seems familiar. The tendency in this country is to give people what they already have in a way that has been done before by people better at it than you (e.g., imitating American models). Don’t do this. Accept who you are. As I mentioned, difference and uniqueness expand the market, and expanding the market creates further demand. More demand forces us to develop our talent, because suddenly, lo and behold, there will be a desire for it.
Another American thing we need is a star system. We need a ladder to climb, and we require it to grow tall and shatter our extremely low glass ceiling. Without one, Canadian talent will continue to move south to create excellent American entertainment rather than remaining here and striving to achieve a comparable level of success (financial, artistic, etc.). The star system isn’t a flash of genius: it is a basic and integral part of entertainment economics. The time is ripe for Canada to stop listening to these basic tenets of economics knocking on the door of our national personality and to open the door wide and let them in. A bigger market, full of recognizable names and young talent fighting to make a name for themselves forces the market to expand even further, creating more production companies, more networks, more money, an ever-better product, and finally, a deserved place on the international stage. Degrassi is a great Canadian show. It may be our most successful. But we can do more.
But perhaps the biggest thing we could learn from the Americans regards their heavy focus on youth. The entertainment business, for better or worse, elevates youth as the most important members of society. In doing so, it also inherently values characteristics of being young as important – namely, traits such as risk and adventure. There are all kinds of American government and network-sponsored programs looking for the “next” big thing because they want the next generation to conquer the previous. They seem to value the future in a way that we don’t, and certainly understand the importance of developing young talent. And when someone does well here, let’s be excited about it. Let’s not cut them down. Let’s not support our young and then eat them. Let’s encourage them to keep going! The sky’s the limit if we encourage that philosophy.
It seems strange that the idea of nurturing young talent would be considered a risk. It’s the most natural, most important thing a parent can do. Children don’t always grow up how we intend them to, but they must still grow up, and hopefully they become themselves. So, in a way, Canada needs to go against its natural inclination in order to do its best. We need to step outside of our conservative values and take the safest risk imaginable: invest in our future, support Canadian talent, and so, compete. Canada needs to understand that it is, itself, a young country. It is time we started acting like one.
- Matthew MacFadzean, Canadian Actor and Writer
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@Duv : Good point.
Wanted to raise another point here. When “Canadian big names” catch on and gain popularity outside of the country (particularly with music) I find that Canadians within the country start hating on them. Example: Nickleback, Justin Bieber, Celine Dion. We say that they have “sold out” and have lost the core values that we Canadians cherish…I myself am guilty of this, yet I do agree with many points in your post Matthew.
Hello There. I found your blog using msn. This is a really well written article.
Wow, really interesting perspective. I was so ready to say that you were out of your mind when you said that Canadians should be more American but you actually have a good point. I really appreciate the way that you explained this and the detail. I really hope to read more from you! Best of luck to you.
Canada’s Risky Business | Your CBC/Radio-Canada was added to my bookmarks. I can’t wait to read even more about this topic.
Americans aren’t as risky with their talent as you proclaim. Most of their “stars” are packaged based on whatever suits the packager…meaning the level of originality & what is actually coming from the star in the way of talent is often not even a factor.
I think the reason we don’t support a star system here is that we are cheap & stingy with the celebration of others. In other words, we might offer a cheer for good work, but we don’t want anybody thinking they are special or in any way entitled to be celebrated more than the average. I think it’s nice that we say it’s because we’re more conservative & reserved, but really I think we are just not willing to have anyone stand out from the rest of the crown…of course the flip side of that is that we have great social systems in place.
Why is it that we are always being compared to the Americans?
Why is it that commentaries such as this are continually lamenting the state of our artistic affairs and keep recommending that we need external forces to come and make our enviroment somehow better in some sense rather than tapping into our internal resources to improve on all of the blessings we have here at home. As a working artist, the last thing I need to think about is a dreaded Yankee “star” system as a mean of invoking something with the competitive edge that somehow makes us more innovative and better as an artistic community. The betterness of that model is incredibly limited and extremely relative. The stated star system as it exists now in the States is a sickness that is eating American culture from the inside out. It is all glitter from this side but the reality of it is not very pretty when you get into the ugly politics and motivations of it.
Those Canadian artists who go abroad to work – kudos for their initiative and thier ability to make decisions that will bring them in an income that supports them and those they are responsible for. To those Canadian artists who are working in the industry here in Canada, in all regions of the country, from downtown Toronto ON to Inuvik NWT, great respect has to be given. The system that sustains the cultural industries here in Canada whether government programs, corporate, institutional and private sponsorships, institutional and private mentorships, retreat opportunities, cultural product marketing systems, all of these are wonderful resources brought to bear into the support of cultural industries. Youth included.
Canada is not a United States. Nor is it Kuwait, nor South Africa, nor Greenland. It is Canada. The social, political, economic and artistic enviroment is so different than anywhere else in the world that to even wish for another system is like exchanging mangos for lemons. It is basically an irresponsible dialogue that goes no where. It is wishful navel gazing hate the grass on this side of the fence commentary that is exhausting to hear once again and again and again.
Instead I would suggest that if you are so disenfranchised by the sytem then you have two choices – either move or count your blessings and make your changes within. Take take your talents, go and find support and change some lives. Quit complaining and make something happen. And if the focus is youth then – set up a storytelling event for young tellers, setup a community youth artist program, sponsor a young actor to develop new work, help a young musician with creative ideas, give a young dancer a commission, put your resources out there and make something happen.
Change happens with small initiatives that catch fire – not with wishing on a falling star. And especially not wishing in a falling star that doesn’t even warrent a second look. You make it sound as if all the youth in Canada are moving out – leaving the place and finding manna across the border. Sounds to me as if you are uninspired, uninformed, unmotivated and looking at the glass half empty rather than half full.
Suggestion – shift the paradigm and begin a movement from within.
Who knows where it will go? Perhaps some gutsy Canadian creativity will make you a name around the world rather than a cowtow to a southern illusion.
You can do better than that.
Let’s face it: If a “Canadian” show becomes “popular” south of the border, it probably means it’s good or it’s what an American audience is looking for at that particular moment in time. If our Canadian content doesn’t make it in the States, it probably just means that the material is rather “insecure” not because whether or not we have a star system.
Let’s face it. “Canadian” shows that become “popular” in the States, become popular because they’re good, whether they’re from Canada or not. If the rest of our Canadian content doesn’t make it south of the 49th. is it because the material is rather “insecure” ?
Hi, interesting article! I wanted to comment that I have been creating as a Canadian artist for say, ten years now (I am 31) and that the reason I have never been noticed by publishers or record labels probably lies in the submission format. As a ‘professional amateur’ I focus my life on two things: doing my art honestly to my highest standards, and working to keep body and soul together. Not only do I feel that I don’t have the time or resources to engage in the game of submissions, contests, literary reviews and other shmoozing, I find spending time on these things disingenuous to being a true artist. I am not a businessperson, and designing a pitch is not art to me. Despite loathing the process I have sent out countless submissions and demos, and gotten nothing in return. People like me need A&R seekers to come back, we need people we can do business with on a handshake and trust relationship, and those people seem to be absent.
I liked your comment on providing Canadian art that doesn’t try to be overtly Canadian. I am proud to have been born, and lived all my life in Canada, and I feel strongly that I have an identity that is unique and worthy. I don’t focus on being Canadian, or the Canadian message – whatever that is – I just respect my background and my surroundings, and justify them in my own memories of the past; and in doing so create something innovative yet filled with meaning.
Thank you for provoking my thoughts today, and for your excellent writing!
Chris
I disagree that American popular culture celebrates or “props-up” risky entertainers or viewpoints. The most obvious example is that Saturday Night Live has been safer than a Brooks Brothers suit for at least a quarter century now.
I’m dating myself, but look at the examples of Dead Kennedys, Public Enemy, 2 Live Crew, Body Count, etc. These were risky acts, but in no way were they endorsed or supported by the giant entertainment industry. As a matter of fact, upset white Senators wives started the PMRC to try to put a stop to them. Sadly, they largely succeeded.
The difference between American and Canadian entertainers, at least on the level you seem to be speaking about, is the DIY ethic. Successful American artists have an inherent distrust, almost hatred, of established institutions. Successful Canadian artist have a history of getting grants and “The Big Push”.
The Barenaked Ladies got “The Big Push”. They were “risky” because of their name and got banned from playing Toronto’s City Hall. They sang about Kraft Dinner and a McDonald’s girl. Risky? Canadian? Nowadays, Ed from the same band has a show on cable TV getting the same push. It is rather sickening. It is suckling at the same corporate outlet.
The last really exciting era of American music occurred back in the 80’s. Bands like REM, The Replacements, Sonic Youth and The Minutemen were literally out there on their own. They established a network of clubs and contacts and brought new music to new venues and audiences.
At the same time, CBC Stereo hosted two incredible programs, Brave New Waves and Nightlines. A large part of the success and continuing legend of these shows was that they were about the WORLD of music. Just because it was Canadian didn’t make it good. Being Canadian was a bonus.
Deja Voodoo was a wonderful duo with a lot of the same DIY ethics as some of those American bands. Voodoo covered a lot of songs by forgotten American blues players. Voodoo also started a record label and gave the world the privilege of hearing Cowboy Junkies for the first time. Two English speaking guys, from Montreal, travelling across Canada in an Edsel, did this. NOT “The Corporation”.
Along came Nirvana, and American media took this safe trio of losers to the bank. So did Beck. By doing so, they killed “the goose that laid the golden egg”. Kids in the 90’s cried in their coffee and wrote poetry unworthy of replication on bathroom stalls. In the 70’s it was kids wearing satin trousers that didn’t fit. Years later, “risky” American media had folks crying in their beer and line dancing. They made us all achy AND breaky. I wouldn’t call it risky though.
These days, Canada IS following America. We have our own Nirvana. The Nickelback pigs have been sucking up to the government trough endlessly. Chad Kroeger’s vanity record label is little more than a money laundering scheme for the Canadian grants spider web. The Soviets used to engage in this sort of thing before Gorby. Labels such as “corporate rock” or propaganda are appropriate.
It’s endless too. CanCon perpetrates pablum and is as insulting to real artists as it is to anyone who isn’t deaf. Frankly, when CanCon means that every radio station in Canada has Bryan Adams on high rotation and regurgitates nonsense like Alannah Myles, I sometimes wish I WERE deaf.
But even CanCon follows the “risky” American lead. All those highly rated “talent” shows beamed in from south of the border are just karaoke. Same old snore.
CBC television IS emulation American formulas. They put proven ratings champions on the air. Hockey, Coronation Street, Jeopardy and Hank Rollins Jr. (Strombo) pay the bills. Their cable news outlet, whatever it is called, is an insulting version of CNN. The only real difference is that CNN’s giggling girls are prettier.
The thing that REALLY irritates me about the CBC is the “Ivory Tower” attitude they convey. It’s an exclusive club. Just try getting a seat at the table unless your dad is a member. They are out of touch, privileged people trying to talk down to us. I’m glad they seem so foreign to me, because I wouldn’t want to live in a country populated by CBC talking heads. As a matter of fact, I might have supported the Occupy movement had they taken this particularly despicable jet set to task.
I’m extremely tired of being bullied by the CBC. The great unwashed is bored by rich CBC executives hosting dinner parties and posing for glossy magazine photos on their way into restaurants we will never visit. They gorge themselves at the same public trough as Nickelback. They know as much about my life as Canada knows about theirs.
When corporate Canada rams garbage down our throats like a third rate Guess Who cover band called The Sheepdogs, yeah, good decent people are going to avoid that product like we avoided Olestra. Some young acts should be nipped in the bud.
We no longer live in igloos and we no longer envy those living in the red carpet world. The Margaret Trudeau days are long over. I long for the day when a Canadian artist has the confidence and charisma to give a one finger salute to the CBC, dusty university professors, Neil Young, Gordie Lightfoot and Leonard Cohen.
I’m very proud and very fortunate to live in Canada. The Canadian passport I possess is more valuable than any winning lottery ticket.
We should live in the real world. Disney works for some Americans. Maybe the CBC works for some Canadians. Quebec seems to work for a lot of people, but so does Somalia or Syria. We live in a post-nationalist world. Art created in Indonesia can be seen milliseconds later in Nunavut or Cape Breton.
The passion of the art is what is important, not the grants, not the country of origin.
Addendum: I forgot to punctuate with an example: even Insecurity had to be touted as the new Get Smart in order to be understood, when I am sure your writers take inspiration from The New Avengers – but who would get the allusion?
I don’t like what you say. I think the problem is that Canadian talent has always gone to Los Angeles (and sometimes returned) not to the BBC (and sometimes returned), so we understand television only in terms of the American model; yet the British half of the Canadian sensibility has been completely ignored – probably because TV entertainment evolved in the 1950s and 1960s when we could not get a BBC feed to our homes and we were stuck with American signal. The CBC f—— up when it did not import British content in the 1960s and 1970s and relied on America to form our broad tastes in visual entertainment, as expressed in the television medium. That part of the Canadian cultural praxis has never really been touched, and yet it can still be seen to resonate ever so mildly in the Newfoundlandease of Republic of Doyle – which is essentially Irish, and some of the self deprecating humour which forms a key part of Insecurity – which comic sense owes itself to England not California. But that link with ourselves has been irrevocably lost. The CBC failed to nurture that side of us before the Canadian demographic shift of the 1990s-2010s. Because of that I think Canadian television and cine talent is condemned to be a pale imitation of American visual art, and the best we can do, is (if I read you right?) to no longer be a pale, but be a brighter, more innovative, imitation of the American television scene – maybe to become good enough that it can no longer be distinguished at all from the American product. SIGH. I hope you can prove me wrong. Best wishes in your career, because you are damned funny.
Some great thoughts in here, gave me a lot of insight. Thanks for this.