If we're looking more economically as a question on that front, our main approach is that our support for music has been through radio station regulations and other new ventures that have come up in the last number of years, such as satellite radio. For example, Stingray does have a product that is on the cable channels also.
All of those approaches are helping by making sure there is an availability of Canadian music on the airwaves, if I can oversimplify it, and contributing dollars to something we call “Canadian content development funds”. Those dollars serve to help create new music, in both the creation and the marketing and distribution of that music, not only across Canada but across the world.
That's sort of the high level on that front. Naturally, radio stations' revenues have been declining over the last number of years, so those funds have in fact diminished slightly, addressing both francophone and anglophone markets there. With us having moved forward in looking at the new streamers and asking them to contribute dollars going forward, that's how we will be addressing that diminishing support. That is based on radio revenue.
Something similar with respect to cable television.... Mr. Champoux mentioned the CMF—not the Canada music fund, but the people who support television in that case. It has been widely supported both by government and by a percentage of cable revenue. Generally, 3% to 5% of cable revenue has been supported on that front.
Those funds have also been diminishing as Canadians are subscribing less to cable. When we started all these ventures, we were probably around 90% penetration of cable, and now you're looking at something more akin to 60%. All forms of cable, whether it's IP or satellite, are what I'm mentioning in that case. Government has stepped in over the last number of years to backstop that diminishing amount, and certainly decisions were made about the initial contributions to ask the streamers to start contributing to those funds. That's how we're working the system on that side.
The vast majority of production dollars for the companies that have licences in this country in fact have requirements, again, for a percentage of their revenue to contribute towards programming that includes local news and other forms of programming, as well as actual production for their own airwaves by themselves. That's the other regime. On that front, certainly local television has been struggling for a number of years, whereas the other big component has been related to specialty channels. That, however, has been more robust over the last number of years.
Hopefully, that's the high level—