I think the issue that Bryan raised is separate from the actual extension of the copyright term.
To speak to Bryan's issue for a second, the majority of agreements these days, in 2020, negotiated between publishers and songwriters are fair agreements. They're more similar to partnerships. The songwriter and the publisher both share in the publishing and act together as partners. Our interests are very aligned. I really do believe that the paradigm Bryan was describing is an old paradigm that doesn't exist anymore. When I speak to my songwriters about these issues, we are always simpatico. We are always aligned.
On the issue of innovation, which you first mentioned, the money we get from having songs that are steady hits, songs that are going to fall into the copyright domain, is what we use to take risks on new songwriters. When I sign a new songwriter to a copyright, to a publishing deal, and we decide to split the copyright together, I am then investing that money to send them on co-writing trips to other places in the world in the hope that they're going to get those songs recorded by international artists. I am spending money on their own artistry, on radio promotion and on their having the time to write and create in the first place.
They're huge risks. They're big gambles. If I don't have profit from a reliable source of income, I won't be able to make those investments. I won't be able to invest in Canadians. We'll have less Canadian content, and I think that goes to the heart of creativity and innovation.