Yes, I would build on that by saying it's really about the fundamental disruption and change in the marketplace that are creating a totally different supply chain than what used to be. If I were a creator in the past, I would show up at my music label and sign a deal. They would own all of the distribution channels. They would own the eyeballs and the ears, and I would have a very linear, straight line.
We're at a time now where there are more channels available to anyone than ever before. There are also more ways of making things than ever before. I can make music in different ways. I can make art in different ways. I can write in different ways. I can access my consumer in totally different ways.
On the one hand, it's a huge opportunity. On the other hand, it's a fundamental shift in the marketplace about what gets valued and how people think about that. Now we're consuming culture and we're consuming copyrighted material at such a rapid pace and in such a different way. When I think of the traditional way I bought my first album, Dire Straits' Brothers in Arms, for my father, I'm now in a totally different realm. I'm encountering cultural content daily and I'm thinking about it differently. I think that's the most fundamental issue happening now.
The only thing I'd add is that there are still challenges for the traditional understanding of copyright. If I think about the issues related to the relationship between indigenous peoples in Canada and the intellectual property system, that's not necessarily about the new way of accessing markets. It's really about a fundamental relationship in dealing with concepts of collectively owned, non-tangible goods in a system that says, “Write it down, tell me who owns it, and here is your time-limited prescription of how long you get to protect it.” These are more fundamental and have nothing to do with the new realm.