Wreck City Demo Tape thoughts

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A week ago this past Friday (June 19), I attended the opening evening of the newly opened incarnation of Wreck City. I got there late as the last band was packing up. I was only able to see a few things that evening and had to return to see the remainder the following day. Sadly, even though I began writing this on the second day, this project called Demo Tape has now ended.

The last project that this curatorial team called Wreck City was involved with was entitled Phantom Wing. It occurred in the fall of 2013 and I have written at least one or two posts about it. If you are curious, follow the Phantom Wing link to the right.

Phantom Wing (from what I understand) was under the direction of cSPACE (working in collaboration with the curators of the successful original Wreck City project in Sunnyside). I have written a few things about it during the time that the project was running. It was coordinated to kick off the impending demolition stage of the new wing of the King Edward School that is intended to be an arts incubator.

About a month or two ago, the official sod turning event happened at the King Edward School. Two years later (after Phantom Wing), it would appear as if the King Edward School project has finally began the building stage process. As stated optimistically in the press release above, occupancy is scheduled for mid-2016. But given how long it has taken to get to this stage, and with some knowledge of how long construction projects often take, it is my speculation that occupancy will be more likely occur at some point during 2017. But since I am not involved in this project, it is possible that I could be wrong.

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After my little introductory diversion, the curators of Wreck City put the word out in January and in February that they were looking to resurrect the concept once again.

At that stage, they indicated that they were looking for space in the inner city communities. From what I understand there were a number of options that came as a result, which is not surprising given the rapid gentrification and upgrading of older communities in the city. Obviously given that this concept occurred – they found a suitable space.

This event was held in the former Penguin Car Wash overlooking the Elbow River between Fort Calgary and the Esker. It has a fantastic view of downtown Calgary and the mountains behind.

It also has a connection to an art mystery.

Specifically, this mystery involves a series of Rembrandt letters which prove that two recently purchased Rembrandt paintings were indeed forgeries and also involve a murder that was tied to an incident to obtain these letters. Of course, this whole Rembrandt story is a complete fabrication. But it was a small piece of the plot for the movie Silver Streak (1976) featuring Gene Wilder, Jill Clayburgh, Patrick McGoohan and Richard Pryor.

The Penguin Car Wash connection takes place at the bottom of the small hill that the car wash is located upon. The CP railway bridge which crosses the Elbow River and is located directly below the carwash. See next photo, as it is quite possible that this scene was shot from this viewpoint (or nearby).

At the beginning of the third act of Silver Streak, Gene Wilder and Richard Pryor jump from the train into the Elbow River below. I tried to find a clip of the scene, but could not track it down. I guess that means you will have to watch the whole movie instead. It is possible that the Penguin Car Wash is visible in the movie. However, it has been so long since I have seen it, I am uncertain whether it is visible or not.  Now I have to track down a copy and view it again as well.

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After, yet another diversion, back to the Penguin Car Wash and Wreck City’s Demo Tape.

As stated earlier, I visited opening day toward the end of the night. The band that I heard while waiting for the freight train to pass, was already starting to pack up by the time I arrived. As a result, I only got to see some of the installations. However, I came back the following day when it was less busy and saw the remainder when there were less crowds.

It was interesting, however this version, did not have the same amount of buzz around it that I recall from the first iteration. Why that was, I am unsure. Maybe it was a bit more structured, formalized and probably a bit more thoughtful.

These are all good things, that are to be expected as an organization matures and changes.

Midway through the event, the organizers were forecasting that they would get 5000 attendees. Although the final numbers of those who attended have not been released, based on the following comments, a guesstimate can be made that probably somewhere between 2500 and 3000 people most likely attended. This is a solid attendance for an art event with little media support.

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Of course this cannot compare with the approximately 8000+ that attended the original project. We can attribute this variance to any number of reasons, given that both took place over a similar time period. Some of these reasons are:

  • Public transit accessibility – original was two blocks from a C-Train platform vs. Demo Tape had little transit infrastructure nearby and about a kilometre away from the nearest C-Train platform.
  • Time of year – the original event occurred at the end of university/college school term (last week of April) vs. Demo Tape occurred at the end of primary school term and the beginning of summer holidays for many.
  • Cultural awareness – the original event ramped up in the fading days of the year-long Calgary 2012 event when awareness of cultural events was high (with Calgary 2012 receiving seed money and support from organizations such as the federal government’s Department of Heritage, Calgary Arts Development Authority, Calgary Stampede, Calgary Public Library, Calgary Parks and Recreation and others) vs. Demo Tape which depended upon the connection to Sled Island and Wreck City’s own base who attended previous events.
  • Number of artists – original had approximately 150 artists vs. Demo Tape which had approximately 50
  • Cohabitation – to my recollection the original had more cohabitation happening between artists in the same (this is probably the nature of the more intimate nature of the buildings used, where the spaces were smaller and artwork would cross over perceptually even though they were placed in separate spaces in each house) vs. Demo Tape where each artist had more distinctly separated physical spaces for their artwork and larger spaces in general.
  • Newness – the original concept had the perception that it was new (in some ways it was, and for many attendees it was definitely something new. In other important ways it was not. I state this because it was a derivation of a previous project one or more of the curators were involved with a project that occurred in 2011 a few blocks away from the original Wreck City project in the community of West Hillhurst) vs. Demo Tape being the third project by the Wreck City collective after a two-year hiatus.

Were these reasons enough to make a difference?

Maybe. Maybe not.

These will all be factors that the curators will need to figure out when they do their post-event analysis, debriefing and reporting (if they actually do that). Potentially, I am actually doing it for them (or at least giving the curators something to think about).

Audiences can be very fickle and it is hard to determine what the root cause is that will prompt attendance in one case and not the other.

Media

I also have to mention media. Even the news outlets, didn’t get behind this event like they did for the Sunnyside project. During the 10-day run of the project, I believe that only the Calgary Herald actually reported on the project. There also was an interview with a number of the curators on CJSW radio. Both happened on the first day and nothing else happened afterwards.

To be fair, there was certainly coverage leading up to the week leading up to the event, In addition, the media really helped put the word out about the collective’s search for space back in February.

Whatever happened, and why it was not covered as it was previously, I suppose will remain a mystery.

Of course, it is worth mentioning once again, that the visible absence of arts reporting through the vehicle of FastForward Weekly is still noticeable, especially for special events such as this.

This has subsequently made the act of talking about visual arts and exhibitions, somewhat like talking to an audience (that may or may not be there) in a steel drum. I have said it before. I will say it again. Local arts reporting is critically important for an artist’s career and development. It is the same reason why music reporting is important, why theatre coverage is important and sports coverage is important. At the end of the day, they all serve the same type of purpose – to a point.

But, I guess removing visual arts coverage entirely, and/or having said coverage take place from a different geographical location is all done in the name of progress and it is not my call to make. I just try to add my little bit from time to time – and when my own time allows this luxury (since I don’t get paid to write this blog).

The actual event

I must be honest. Although I went, my heart was not overly engaged. The first night I came immediately after work and spent more time talking to people I knew than looking at art. The second day I spent more time relaxing on site and talking to an art teacher who travelled by herself from Madison, Wisconsin to volunteer at the Demo Tape event. I feel bad, because I spent at least an hour or more talking to her – and now I have forgotten her name. She had never visited Canada before, but came with the intent to volunteer, see some scenery, but also to see the two performances of Godspeed You! Black Emperor and a few other groups she wanted to see as part of Sled Island before heading back to Wisconsin. She was a very interesting person to talk to and it was a very enjoyable time.

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There were a number of interesting projects, however overall it gave the appearance of a glorified art school project focusing on installation-based work.

This is understandable, due to the nature of the event. So this is not necessarily a criticism. The majority of work was slated to be destroyed along with the building at the end of the actual event. By that very nature, the works will have an unfinished and raw quality to them. As a result, it will rarely be like something one would see in a gallery setting.

That is both the blessing and curse of this type of event. Expectations potentially can be high, when they shouldn’t be. And the reverse is also true.

As mentioned previously, much of this show had much more conceptual bent than was the case with the two previous iterations – Wreck City (the original) and Phantom Wing. I am unsure why this is the case (and it is certainly not an issue), maybe it was partly curatorial; maybe it was the artist’s interests who applied; maybe it was the nature of a long lead time, with limited amount of time with access to the space; maybe it was just delivery (and how it was perceived); or maybe it was a combination thereof. In the end it doesn’t matter.

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For me, some of the highlights of this event were (and there were certainly more):

J.D. Mersault’s installation/performance/story entitled Forty-Four Fragments for a Car Wash (see http://fortyfourfragments.tumblr.com/).

At first I did not pay much attention to what was going on, when I saw the artist sitting at a desk writing, since it was the first piece I encountered upon entering the site and wanted to head straight in knowing that I only had a limited amount of time.

However, once I realized that this was part of the exhibition, and the more I looked at this work, and thought about it – the more I found it fascinating. It was a multi-disciplinary piece that was not static, but combined elements of durational performance, installation, memory, poetry and more. I was very intrigued by what he was attempting to do.

Obviously, what I encountered on the first night was a work in progress. What intrigued me was the dialogue that the artist had with two works that I was previously familiar with – 1.) John Scott’s piece Trans Am Apocalypse No. 2 (1993) which is in the collection of the National Gallery of Canada; and 2.) Joan Cardinal Schubert’s The Lesson (1989) which was first shown at Articule Gallery in Montreal.

In Cardinal-Schubert’s work (which was included in the Glenbow’s Made in Calgary: The 1990s large group exhibition. In this Made in Calgary show it was recreated and incorporated as part of that exhibition a little over a year ago. In that installation Cardinal-Schubert installed school desks, chalk boards and other related ephemera as it talked about residential school for aboriginal students. There is an image to her work as installed at the Glenbow in 2014 here. Of course, this is timely given the recent release of the Truth and Reconciliation Commission of Canada Report. It however should be stated that Mersault’s work does not have the same political edge that Cardinal -Schubert’s has.

In John Scott’s piece, the artist transcribed and etched the complete Book of Revelations of St. John the Evangelist into the entire surface of a black Trans Am. In JD Mersault’s piece he was in the process of writing the contents of a new book onto a steel desk. This was intended to cover the surface of the desk in a manner similar to John Scott’s piece mentioned above. I am somewhat disappointed that it was only the top surface, and the not the entirety as in the case with Scott’s Trans Am. But I also understand, that it is a time-exhaustive process with only a limited amount of time – so I cannot be too disappointed. This work was being written during the duration of the Demo Tape event in his position as writer-in-residence – a piece entitled Forty-Four Fragments for a Car Wash (see hotlink above) which he would like to publish at the end of the event. I am very intrigued and curious to see where this work will lead.

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Palmer Olson’s installation My Favourite Buildings. Here the artist deconstructed the office space, catalogued the items; and packed it up. He then attached a packing slip with all the contents of the office listed; provided instructions and renderings, ready for reinstallation elsewhere.

The dialogue involved with this work engaged with the larger concept of gentrification; adaptive re-use of historical spaces; demolition of marginal space; sustainability; and other issues surrounding construction waste as a result of new development (in both greenfield and brownfield areas) which all adds to our landfills.

It is an interesting dialogue to have in the city with all the rapid gentrification (although not to the same extent as was happening even a year ago); and the generally prevailing concept that new is better than old, bigger is better than small.

This dialogue is an important one to have and it lends itself well to this type of project.

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Lane Shordee’s and Desiree Nault’s installation With Sprinkles.

This installation which was located directly beside Palmer Olson’s was a two part installation. I hate to use the word beautiful (and maybe even a bit magical), but sometimes these terms fit.

One of the rooms, presumably an office space of some sort was enclosed and it was possible to only look into it. Above this room was a windmill made from materials salvaged from the car wash. Using this windmill, 24 kg of iridescent confetti was ground up and passed through a hand-made sieve and allowed to descent into the room below like snow. Presumably through wind-currents in the room it created this magical space that had a sense of otherworldliness, but yet at the same time was very familiar. Because the photo was taken quite early on the iridescence is not as visible as it would be toward the end of the 10 days.

When I visited the space earlier today to get a photo of the CP Rail bridge, the windmill was still operational. It is visible in a photo that I took on opening day and have placed near the top of this posting. It is somewhat easy to overlook, but you can see it in the image with bicycles in the front and the building behind. It is on top of the building to the left of the sign that states “The Club is Open”

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Lane and Desiree’s installation tied in well with another magical space created by Ben Nixon and Rachelle Quinn entitled Perhaps this Sound.

I was fortunate enough to have been asked to leave (along with everyone else at closing time on opening night) as I was just entering the room where this installation was located. I say fortunate, because had I actually visited it, I might otherwise have missed what made the space interesting.

The following day, on Saturday, I was the only one in that room.

As a result, I was able to interact with the keyboard that was part of the installation and play around with it without feeling pressure to move on. The interactive element, and there were other installations that were interactive and interesting such as The Cave were interesting as well, but in that case, I encountered it with lots of people around. Perhaps the Sound installation appealed to me on a more personal level and the other may have been different if I was the only one there. With the immersive music; the ability to control lights and sounds (somewhat, even though the outcomes may be unpredictable); and the immersive nature of the space with multiple senses being activated was a very enjoyable diversion and short-term escape that I enjoyed.

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Overall, this iteration was different, and had a more thoughtful feel to it, than was my recollection and perception of the previous two iterations.

* * *

Now that the space is vacant, what is the plan moving forward?

This is something that has not really been talked about to the best of my knowledge.

From sources that I believe to be knowledgeable, the space is slated to be demolished (which is probably common knowledge given the nature of the project).

This is being done to make way for a new residential complex. Unlike most recent constructions of late, this will be built as a rental property. This is potentially an interesting location for a new residential development as recent news has had a fair amount of conversation about the new LRT Green Line expansion.

This all gets back to my initial comments about Gene Wilder and Richard Pryor in the movie Silver Streak in a round-about way. Let me explain.

Recently, the federal government made a $2.6 billion announcement of new federal infrastructure funds for transit infrastructure in Toronto made by the current Prime Minister in Toronto, the day before Wreck City Demo Tape opened. No doubt, as the journalists who penned the Globe and Mail story intoned in the opening paragraph, this was timed to create warm fuzzy feelings amongst the voting electorate in the critically important Toronto battleground for the upcoming federal election in mid-October. Cynically, but also recognizing the nature of electoral politics (it is a fair assumption, that each party running wants to form government, or at least that is the theory. Otherwise, why would they run?). To do so they will each make announcements to entice voters to vote for them. Because of that, I am sure there will be further announcements in the near future that will be equally as transparent.

Currently there are 23 ridings which are currently split almost evenly in terms of representation between the three major federal parties (9 CON, 7 NDP, 7 LPC). From what  read as well, the polling for the GTA is very, very tight with only a few percentage points between each party. With the new electoral district redistribution the city of Toronto will get two new ridings (and the province of Ontario as a whole will get half of the 30 new seats), it will make Toronto that much more important, for any political party that wants to form the next government, but I digress. As someone who is very interested in the political process (not so much party politics), and given these facts, to my mind, it made perfect sense that the current government made this new funding announcement in Toronto.

Of course, this prompted Calgary to also get on track (I know, I know – bad pun) to immediately seek it’s share of the newly announced federal transit infrastructure funding for the Green Line expansion and the Green Line North (aka North Central LRT) which is part of the 30-year plan RouteAhead project.

If this expansion moves forward, it will be adjoining or certainly within close proximity to this new residential development. I say this, as my understanding is that the Green Line is proposed to follow (at least in the inner city portion) the current CP Rail line which is located only a few metres from the Demo Tape site (a jumping off site, if you will pardon the lame joke that references the Silver Streak movie).

Of course this new redevelopment may potentially reduce the current view of the downtown core from the Esker Foundation space. This is interesting given the recent Calgary Herald story earlier this month, which talks about the purchase of the former Farmer Jones auto dealership which was located across the side street from the Atlantic Avenue Art Block which houses the Esker to save the view from the gallery.

It is probably doubtful as I have included an image from beside the CP Rail bridge (the Gene Wilder and Richard Pryor jump off site) which shows the Atlantic Avenue Art Block which houses the Esker (the four story building that the rail beside the tracks points to in this photo) and the Demo Tape space (Penguin Car Wash site) to the right of the two trees in the photo below. And ironically the jump-off point is right in the middle of the two.

As with all new higher density developments, it will be interesting to see how the new development changes the nature of the communities of Inglewood and Ramsay.

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* * *

24 July 2015 @ 12:45MDT edit:

Further to my comments above regarding the GreenLine LRT and RouteAhead expansion, I read with interest that there was a Federal government announcement made this morning with regards tot his project. According to this posting made earlier this morning in the City of Calgary’s news blog, this announcement is the “single largest infrastructure investment in Alberta’s history.” This project will run from the as yet undeveloped community of Keystone Hills in the far north end of the city through to Seton in the deep south which is still undergoing development surrounding the newly established South Calgary medical centre.

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Situations are changing, but we still need the cash

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Within this past week a number of news stories have crossed my desk which show that all is not well in the arts and culture area (oops, I mean cultural sector – no forget that, let`s call it cultural industries).

Regardless, it is something that is certainly not new by any stretch of the imagination for those involved actively, but at least there seems to be some awareness of it on a larger scale – or maybe that is just wishful thinking.

I don`t have much time today so will only touch on a few things, more in passing.

 

1. The issue of corporate culture and economics with the arts world.

This morning in the Globe and Mail there is an article written by Thomas Hodd which talks about the corporatization of the arts world. The author teaches literature at the university level and also sits on various arts organizational boards – so as one would expect, he talks about language. He also brings up this “situation whereby artists and cultural organizations are now being forced by governments to conform to the language and approach of corporatism if they want to get funding.”

This appears to be a continuation of comments made in mid-October 2012 in the (St. John, NB) Telegraph-Journal where Hodd stated in an editorial, that “Economics should not be a driving force in decisions regarding matters of culture. Economics serves to provide us with the means by which to live while culture gives us a reason to live in the first place.”

2. The issue of social media

A British organization called One Further just published a study last week entitled “Facebook Survey for Arts and Culture Organisations” which can be accessed here. It is a 16-page document that as a result of a statement issued by Facebook in 2013 which “lead to some consternation among arts and culture organisations. . . (namely) If fewer people are reading their updates then are they worth posting? Should they pay Facebook to push their updates into more News Feeds via the Promoted Posts feature? Can nonprofit organisations afford to do that? Is it worth continuing with Facebook at all?”

This led One Further to conduct a survey of 48 organizations in Europe and North America during a two-week period in June 2014. The results are found in the report linked above. It is well worth the read for any arts administrator whose duties involve social media.

3. The issue of public art.

This past May, City Council bowed to public pressure to a point, resulting from the Blue Ring controversy which with terrible timing was installed right in the middle of the last city election campaign. I am quite certain that this probably of little help to the whole issue of developing a new YYC Arts Plan that was already well underway by that time. The end result was rejigging the formulas for the 1% for art program and a few other tweaks. As explained above, this issue was scheduled before the election, for discussion this year on the 10-year anniversary of the Public Art Program. Notwithstanding this situation, public art is something that must be considered.

I see that the Vancouver City Council will be discussing at their City Council meeting today, some significant changes to their public art program in its first significant overhaul in 30 years. As quoted in the Vancouver Sun story that ran a few days ago, “the changes, proposed in a report going to council on Wednesday, come as the publicly funded side of the city’s program is faltering under a lack of capital and an aging body of works in need of maintenance. The city’s cultural spaces management is eyeing taking more from developers to help grow the existing program and to also create a superfund for a new class of projects on city land.”

Of course this issue of an “aging body of works in need of maintenance” speaks to the issue of the original 98-year old lions that once stood on the Centre Street Bridge; and what to do with them now.

One may recall, a few years back the lions were a front page story in the Calgary Herald (February 21, 2012) and created quite a stir when they were observed in a warehouse yard covered by a tarp (ironically across the street from the Calgary Herald offices). At the time of the 2012 story, they were exposed to the elements after being removed from the bridge in 1999 and replaced with replica copies a year or two later.

Once again, the lions are back in the news again along with a series of subsequent letters to the editor. The verdict in the most recent news is that their future is now uncertain once again and that they may be too fragile to move – which more or less repeats what was originally stated in February 2012. However it has been floated as a potential addition to public art located the West LRT line a few times – so one never really knows for sure until a final decision has been made on that, probably sometime next year (2015).

The city actively solicited an opportunity to provide feedback about the lions. For these comments to be included in the written feedback for the Request for Proposals (RFP) relating to public art projects involving the West LRT and the lions, the form had to be filled out by July 21 (two days ago). That webpage is still active – for how long I don’t know and cannot predict. However, if you want to provide your feedback and have not done so already follow this link.

4. The issue of declining revenues for artists

This one is more about music than fine art although a case can be certainly made for the transference between the two. In a recent story in salon.com the issue is brought up about how streaming music is adding to the frustration from musicians outside of the mainstream. Specifically mentioned are the two genres, classical and jazz. This article sites ” low royalties, opaque payout rates, declining record sales and suspicion that the major labels have cut deals with the streamers that leave musicians out of the equation, anger from the music business’s artier edges is slowing growing.”

Added to this could be a discussion about changes at the CBC, where it is becoming more like every other top 40 (or top 100) radio stations on the dial (notwithstanding their on-air advertisements which would seem to indicate otherwise), and becoming less easily distinguishable as a unique view on Canadian culture and content. That discussion however is for another day. To be frank, it will probably will never be covered by me, however I am sure it has been well covered by others.

 

This all plays back to the first comment about corporatization and how funding (however it comes) is affecting arts organizations and changing the cultural landscape.

If anything, I would propose that this is more of an entry point for further discussion and dialogue.

 

It’s like déjà vu all over again

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It was refreshing to pick up the Calgary Sun this morning and see that they corrected some factual errors that were made in yesterday’s paper about the inges idee sculpture entitled Travelling Light that was recently installed on 96th Avenue NE.

I am also glad to see the conversation is continuing.  This will create a greater understanding about how public art makes its way onto specific locations.  It is an important ongoing discussion to have.

A bit of controversy is welcome too.

As Yogi Berra is purported to have said, “It’s like déjà vu all over again.”

I recall the uproar that surrounded the Santiago Calatrava Peace Bridge that opened a few years back.  As it is with this project, there was a large amount of dislike surrounding the bridge at that time.  Now whenever I walk or ride over it, there are always people there, unless it is very late at night – even then there often is.  I believe that a lot of opinions have changed about the Peace Bridge over time as well.

That speaks well of the Spanish architect’s concept and design.  I foresee a similar situation happening here as well.

Now if only someone or a group of yarn bombers would yarn bomb it and make it into a giant dream catcher.  Or close off the bridge and get a Johnny Cash tribute band up here to do a concert and sing The Ring of Fire while the pyrotechnics are going on behind him.

They would both be awesome ideas!

But, I jest.

At the same time, there might be something there that is worth considering.  By doing something like this, it would give a reason to talk about public art and get a huge buy-in from the general population while we are at it.

Now if only someone was willing to take this project on and make it happen.

A new twist to the music business in Canada

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An article in this morning’s Calgary Herald about live music, government policy and the unintended effects of legislation and government policy prompted me to write once again.  The news story can be found here (see http://www.calgaryherald.com/entertainment/fees+international+touring+musicians+threaten+smaller/8842759/story.html).

What is the story about?

Briefly the story is about small local businesses which book live music acts as part of their ongoing businesses.  These are venues which will occasionally (or regularly) book live music acts from outside the Canadian borders, but whose primary business is not music (i.e. bars, clubs, coffee shops, restaurants, galleries, music retailers, etc.).  According to the article each venue must pay a $275 per person application fee for all persons connected to the band and a $150 work permit fee for each person approved for a temporary work permit.  In this story those interviewed expressed concern that this new legislation will affect their businesses.

On the surface the new fees may not seem like a lot.  Let’s create a very simplistic model to use for economic comparisons to see if this is true or not.

The framework.  Fire code for the venue that we will use for comparison purposes indicates it will hold 150 people.  The band that is being booked has four musicians and a sound person, all originating from a different country.  Assume that all applicants were approved. This would mean that the bar (we will use this as an example, because it is easily understood) must pay $2125 in fees before the band even gets on the stage, for their one night gig.  Let’s say the band is just starting to receive critical notice, so travelling to build an audience is a very good idea and it also works for both parties.  Because of that, the band charges an appearance fee of $3000 (or alternatively $600 per person connected to the band).  Although I have no idea what numbers are like in this business, this would seem as if it should be reasonable.  I base this on the fact that the band will need to pay for hotels, equipment, traveling costs, management, taxes, food and drinks on the road, along with the apartment/condo/house that each person maintains at their home base out of this amount and that they will not play every single night so it will need to compensate accordingly.  Based on this model, the total direct costs that the bar owners must pay for the band to perform in their venue is now $5125 each night.

The simplistic business economics of the framework as described above.

As a private business, the bar can do one of two things – they can charge a cover/ticket price, or they can pay the direct costs themselves while not charging a cover.  There are of course advantages and disadvantages to both.

First scenario.  The bar with a stated capacity of 150 the promoter must sell ALL 150 of the tickets or charge a cover fee of $35.00 per person to see this band on a strictly cost recovery basis without allowing for less than a full house.  This would be compared to having to charge $15 with no additional charges or fees, prior to the new fee structure which was introduced by the new legislation.  The bar then can take the full amount of the bar sales in both cases to cover their own operating costs.

Either way, the conclusion in this scenario is that the concert attendees bear 100% of the performance costs, unless it is less successful than planned, which is not factored into this scenario.

Second scenario.  In both cases, the operator charges a cover of let’s say $10 per person expecting some will leave early and others will take their place.  Let’s say they have anticipated based on previous shows and the popularity of the bar, that there will be a lineup to get in, so they can plan for over-capacity numbers.  Here are the numbers that we will work with pre- and post- legislation

  • 200 people attend;
  • each person pays $10 to enter a 150 person venue during the course of the night;
  • while there, each person buys five drinks each at $5.00 per drink.

Using gross numbers (before any operating costs are removed) what this means is the operator receives $2000 as cover charge/ticket price and receives $5000 bar sales for a grand total of $7000 that night.

Pre- new legislation economics in this scenario.  The venue booking this act must still pay the act $3000 which means that the venue’s margin to work with for operating costs (to cover staffing, lease, alcohol and power) that night is $4000.  This means that most likely the ownership group probably will get something out of this – depending on what their operating costs are.  It was probably a reasonable business decision to book this act.

Post- new legislation economics in this scenario.  After paying the act which performed $5125 which leaves $1875 net to pay the operating costs.  To me as a former business owner this seems like an amount could potentially be too narrow to work with to allow a profit given what probable operating costs are.  It might be leaving too little margin for error here.  The ownership group might have think twice in the future, just in case a bad storm happens or a competing act is announced for the same night reaching the same demographics.

Net margin to the operator (before operating costs) in the second scenario is $4000 vs. $1875

Third scenario.  The numbers using the same formula as the second scenario with a slight change

  • 200 people attend;
  • NO cover/ticket sales;
  • while there each person buys five drinks at $5.00 per drink.

Using gross numbers again the operator takes in $5000 in bar sales.  The band requires either $3000 or $5125 just to go on the stage as described above.

Pre-legislation economics in this scenario – the operator might be able to cover the operating costs with the $2000 net after paying out the band.  Based on my limited knowledge of this business, it probably would be a slim margin night, maybe not even enough to cover the costs.

Post-legislation economics in this scenario – before getting on stage the numbers are already negative.  There is no money left to pay for operating costs.  The business will now go bankrupt if this continues in this manner, unless they have extremely deep pockets and a dedicated ownership group that is willing to bankroll it regardless of what it makes.

Net margin to the operator (before operating costs) in this scenario is $2000 vs. definitely negative income.

What does this mean to the Calgary live music scene?

It probably means (based on economics alone) that many of those bands from other countries will rarely come to the smaller venues.  The exception will be if it is a big-name touring stadium act that people don’t mind paying significant amounts to see perform in huge venues and then buy merchandise after the show is over as well.  There is enough margin in these mega-shows that an additional $3000 (or whatever) is not going to mean a huge difference to the bottom line.  It is the smaller shows that will be affected most.

It also means that the smaller venues will find it more difficult to draw acts to fill their venues because the local acts are ones that they have seen more than a few times before.  So unless these local acts have a large following one will see drift in terms of “bums in the seats” (to use a theatre term).  The potential outcome of this might also be that we will see the closure of some smaller venues which were marginal for whatever reason as the economics no longer make sense to stay open for business.

What to do about it?

One of the most effective ways is to express their concern to their local MP as the legislation affecting this issue immigration and temporary foreign workers.  When communicating with your MP, also communicate with the Minister of Employment and Social Development – Jason Kenney whose portfolio this falls under.  When you are at it, one might as well communicate with the opposition critics whose portfolios incorporate this file– John McCallum (Liberal); Lysane Blanchette-Lamothe (NDP) and Maria Mourani (Bloc Quebecois).

Or alternatively one can sign the online petition that was started today as a result of the Herald article.  You can find it here – see https://www.change.org/en-CA/petitions/canadian-government-to-charge-international-touring-artists-425-per-band-member-per-performance-in-canada-previously-a-1-time-150-fee