Oh yes, you're right. My apologies.
He talked about the contractual challenges that certain artists have when they're starting out. They don't have the contracting power to be able to arrange for things in a way that's as balanced as it might be now, once he has become Bryan Adams....
There was a very useful article recently about Spotify changing its business model, and it really reinforces the message we're trying to convey here. It talks about a traditional label deal. They have a pie chart that shows 41.6% going to the label, 48% going to Spotify and 10% going to the artist.
These are contractual arrangements that the labels have entered into with Canadian artists. It's not something that can be undone through a legislative regime. It's really something that is a business affair of theirs.
All we're saying is that under the copyright regime, if you change the amount that radio is paying out, the net beneficiaries, really, are the multinational record labels in the end. Yes, artists will get a bit more money, but the lion's share of that money will go out of Canada, at the expense of local broadcasters.