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Last year was when the endless bush fires in Australia convinced me and my wife, Susan, that climate change was unstoppable. It’s also when we realized that we likely will avoid seeing the worst of the climate emergency.
At 64 and 74 years of age, my wife and I believe there’s a good chance that we’ll be gone before coastal cities are flooded, the ice caps have melted, and the planet descends into a “Mad Max” dystopia. We would like to think that this isn’t what the future has in store, but the intransigence of almost all governments to actually slow carbon emissions leaves little doubt that things are unlikely to turn around.
One of the things that age gives you is a sense of history, a feeling that you’ve seen patterns repeat and that you can see where things are heading in the near future. Over and over again, we’ve seen corporations and governments ignore the people they should protect in order to line their own pockets. What has changed now is that they’re sacrificing an entire planet instead of a town or a country. I would like to believe that the younger people marching with Greta Thunberg could change that, but honestly I can’t see it happening.
The Canadian content regulations established by the CRTC in 1971 played a major part in building our homegrown music industry. What would happen if we applied those principles to Canada’s news media sector?
In my hometown of Kelowna, B.C., in 1970, you bought your records at the Music Box store on Ellis Street. Each week you’d travel downtown to choose from the new 45s and albums that you’d heard on the local radio station. And while you were there you’d pick up the latest list of the top 30 records being played on Vancouver’s powerhouse station CKLG.
Looking at those old charts today, you’d be struck by one thing: aside from an occasional appearance by Anne Murray or the Guess Who, you would almost never see a Canadian artist in the Top 30. The charts were dominated by American and English musicians. The assumption at CKLG, and among its listeners, was that popular music came from those places, not from Canada.
Because there was little airplay for our musicians, there was also very little recording industry infrastructure in Canada. Becoming successful in music back then meant going to the U.S. to record, work and live. Today, by contrast, it’s hard to keep track of all of the Canadian artists who enjoy successful careers here and abroad. Everyone from Drake on down is able to record here and build a global profile without leaving the country. That wouldn’t have happened without Canadian content regulations.