Sure. I'll touch on Crown copyright in just a second.
I did want to pick up on this reversion issue. It does seem to me that the U.S. is a market where there's quite a lot of investment taking place in this sector, without concern about the way their system has worked, which has given rights back to the author.
You asked earlier how individual creators handle enforcement issues, and the notion that we should take an approach that says, “You ought to handle everything. You ought to be able to negotiate every single right with large record companies or large publishers,” leaves them without much power.
If there's consistency between Professor Gendreau's comments about part of the problem being the agreement between authors and publishers as we move into the digital world and your question about what Bryan Adams is doing, it's that, in a sense, we're looking in the wrong place. Much of the problem exists between creators and the intermediaries that help facilitate the creation and bring those products to market—the publishers, the record labels and the like—where there is a significant power imbalance and these are attempts to try to remedy that.
With respect to Crown copyright, I served on the board of CanLII, the Canadian Legal Information Institute, for many years, and what we found there was that the challenge of taking legal materials—court decisions and other government documents—represented a huge problem. In fact, there were some discussions regarding that earlier today on Twitter, where people were talking specifically about the challenge that aggregators funded by lawyers across the country face in trying to ensure that the public has free and open access to the law. This represents a really significant problem. This is typified by a Crown copyright approach where the default is that the government holds it, so you have to clear the rights. You can't even try to build on and commercialize some of the works that the government may make available.