by LORRAINE CARPENTER

"Congratulations to Stephanie in Pierrefonds, you just won a double pass to see AIDS Wolf at the Electric Tractor this Saturday, and we've got some AIDS Wolf and Simple Plan coming up back to back on Mix 96, playing today's best music."

Could this be the future of radio? Two local bands, one an independent noise-rock act, the other a major mall-punk phenomenon, side by side on a commercial pop station? In a proposed change to the Canadian content regulations of the Canadian Radio-television and Telecommunications Commission (CRTC), songs by independent bands would be valued above those by popular bands, encouraging radio stations to program more obscure music.

"Developing artists receive zero radio play in Canada," says Gregg Terrence, the author of the proposal, informally titled Let's Fix Cancon. "There's just no incentive for radio to take any chances."

As it stands now, music stations must devote 35 per cent of their programming to Canadian music, but all Cancon is equal, from Shania Twain to AIDS Wolf. However, because commercial stations would never play the likes of AIDS Wolf, or even a commercial-sounding unknown band, Terrence's system, Cancon Pro, would divide artists into four categories: International (whose songs would be worth .75 credits), Established (1), National (1.25) and Developing (1.5). With the exception of the latter, who simply lack recording contracts or distribution deals, the criteria for categorization would be based on national and international airplay, though detailed figures have yet to be revealed.

"We haven't finalized the formula, and that's intentional," says Terrence, promising a steadfast system to be worked out with the help of the music industry's major players. He adds that the numbers determining an artist's success will be fairly high so as not to short-change mid-level acts.

"We want to make sure that, when somebody graduates from one level to the next, their career won't be cut off at the knees."

The sour smell of success

The potential for Cancon Pro to undermine popular Canadian bands and the programming challenge it presents to specialty stations are among the complaints voiced by the Canadian Association of Broadcasters, whose radio chairman is Rob Braide, vice president and general manager of CHOM, CJAD and CJFM (aka Mix 96).

"Gregg's proposal is a little extreme," says Braide. "I don't think stations should be forced to adopt alt-rock/indie formats and stop playing Canadian artists as soon as they become successful. That's a disincentive to success."

On Terrence's Web site, www.letsfixcancon.ca, projected benefits of Cancon Pro include radio's return "to the business of breaking bands" and "to its glorious past as an exciting medium."

"I think radio is still an exciting medium, and millions of Canadians agree," says Braide. "We provide a public service by offering entertainment and info to the Canadian population. It doesn't say anywhere in the Broadcasting Act that it's our responsibility to break artists. Radio is only part of the media mix - far more music is being exposed on the Net."

Braide suggests that Cancon Pro would only benefit artists "in the extreme margins of the music business," not least the 18,000 unsigned musicians represented by Terrence's Toronto-based company, Indie Pool. Conversely, Braide says, rising stars such as the Arcade Fire would be penalized.

The international renown of bands such as the Arcade Fire - which was a struggling, unsigned band only a year ago, and one that never benefited from Cancon or government grants - supports the argument that talented Canadian artists don't require the government's coddling. "We're playing Arcade Fire, absolutely, because it's such an incredible standout record and we're so excited about the band," says Braide.

"Radio was dragged kicking and screaming into that one," counters Terrence. "I don't blame [stations] for following a trend and cashing in on their success, but that's not an example of radio helping a band."

Cancon makeover

Few changes have been made to Cancon regulations since they were implemented in 1971. Nick Ketchum, the CRTC's director of English-language programming policy, says that even though Canadian artists can now compete with their American counterparts, Cancon is still essential to the industry's health. Terrence is quick to agree, but he contends that Cancon's initial success in creating a star system is what has led to the dominance of Canadian "International" artists on radio.

All proposed amendments to Cancon will be discussed at the CRTC's policy review this fall and would likely come into effect in the fall of '06, including an alternate plan from the CAB.

"The concept of a credit system encouraging radio to play newer artists is something we've talked to the CRTC about for years," says Braide. "The kind of thing we're looking at is giving 150 per cent credit for a record that's, say, younger than six months."

Terrence, Braide and others aim to work together before the review, and possibly present a joint proposal.

"[The CAB has] some justifiable business concerns about what [Cancon Pro will] do to their playlist and whether it'll drive listeners away, and we're trying to address that with them," says Terrence. "Let's Fix Cancon is more of a call to arms than a final solution."

As for the impending federal election and a potential victory for the Conservatives - a party that traditionally disapproves of funding the arts and intervening in private enterprise - Terrence isn't worried.

"We've received no indication that a Conservative government would tear down any arts infrastructure or implicate itself in the affairs of the music industry any more than the current one does. We don't think Canadians would have a taste for it."