Basically, with an event like ours, we would spend roughly 50% of the total revenue on artists' fees. That would go to several hundred artists or different groups. Honestly, what happens with the top level groups is that there's really a negotiation with their agents or managers, so if we're negotiating to bring in Lady Gaga, as we are this year, that is a negotiation that's not easy, but in the end concludes.
Then there's another level of artists--most of the artists actually--where it's not really much of a negotiation. It's a budget that we set to support those artists, and we bring in artists that we think will interest, will create excitement. Then there's a third level of artists that is strictly about Canadian and local artists, who are not really there because we think they're going to sell tickets. They're there because we think they're important artists to present and who will have a huge impact on a live audience. As you said, the recording industry now are cheerleaders; they're not driving the industry any more. We're not looking at record sales, because no one has any record sales. What we're looking at is what their live performances are like, whether they are exciting to the people who will come to the event, because we're promoting live music.