If I may, I have a second example that relates specifically to the blending of the non-profit world and the for-profit world within the music space specifically.
Traditionally, non-profit music organizations were largely funded through philanthropy and grants [Technical difficulty--Editor] various elements of Canadian Heritage, as split typically from what we would describe as the for-profit industry or the music industry. Often that was broken down between classical music, jazz, and world music on the non-profit side and pop, hip hop, rock, and indie music on the commercial side.
I find that those people, those different spaces at Canadian Heritage, often don't speak with each other. Very often they work in very different spaces. We have gotten to know them both, because at the National Music Centre, we're an all-music organization, blending both the non-profit side of helping artists to develop their skills as artists, if they play classical music or if they're original singer-songwriters, and also working on the industry side within spaces around FACTOR and the [Technical difficulty--Editor] that look after those within Canadian Heritage. What we have found is that artists, no matter what music they play, are trying to build small businesses effectively and build careers around themselves.
I have found there has often been, within those two spaces, two separate cultures within Canadian Heritage that operate very differently. My own view, because I've worked in the music business now for over 20 years, is that there's a narrowing of the gap between how artists make a living within the traditional side of the performing arts in music, whether it's classical or world music, and on the commercial side if you're playing in an indie band and you're touring Canada.