Thank you, Mr. Chair.
First, I would like to thank the witnesses for being with us.
Ms. Courtemanche, thank you for your employer's continued contribution, even if it is simply your presence here.
You introduced your two colleagues. There is Mr. Sutherland, who works with Feist. This is obviously an artist who has done much, in terms of both being a commercial success and having a very particular artistic style. She is extremely popular. When Mac or Apple use her songs in advertising, it adds another dimension to the tracks we can all identify with and are so proud of.
You also have with you Mr. Doyle.
Mr. Doyle, clearly you have been there for a while, and you bring a lot to our heritage aspect. What you're doing has a heritage aspect. It's clearly popular music, but it's also so special, so peculiar and so close to where you're from, and that's very important. The whole thing around it, though, is that clearly you've been there for 21 years, and I think you've been signed to Warner all this time.
At that time, I was working for Sony, and I did so for four years. What shocks me now is to see that we have a strong advocate here in Mr. Henderson, with his speech about how we have to change the situation. We have to get involved. I'm happy to see that these foreign companies remain involved. When I was working for Sony, we invested in at least 10 projects that were completely local.
The question for me, I think, is that the biggest common denominator we've had among all the witnesses coming here is that the streaming services are the new thing. You were saying that we should enhance the copyright office to make it quicker and stuff, but what do you recommend? We all know that the share, the money you get every time, the micro-penny you get, is not sufficient for smaller-market artists.