The Kickstarter model works fantastically well for creative people that already have a following/track record. For someone trying to connect with an audience the first time, not so much.
The restrictive copyright model works fantastically well for creative people that already have a following/track record. For someone trying to connect with an audience the first time, not so much. Even the few musicians who hit it big with a debut album have actually worked very hard beforehand to persuade a record label to sign them, with very little reward.
Not necessarily true. The label era was dominated by intermediaries (managers, A&R specialists), but those intermediaries were constantly in search of new bands to promote. Many musicians (authors, filmmakers, your_medium_here) don't necessarily have the skills or desire to become experts in publishing and distribution, and the breakdown of existing models also means the breakdown of cross-subsidization for less commercially oriented acts. There are pros and cons to both models; I'm just objecting to the idea that the new publishing landscape is in all ways better than the old.
"don't necessarily have the skills or desire to become experts in publishing and distribution,"
They don't have to be experts, they just have to be good enough. If the decision is 100% of profits goto a label or 30% go to Apple if I just learn how to use iTunes, I think they'll choose iTunes...
Publishing means to make public and that isn't anything special any more, it's been commoditized.
The restrictive copyright model works fantastically well for creative people that already have a following/track record. For someone trying to connect with an audience the first time, not so much. Even the few musicians who hit it big with a debut album have actually worked very hard beforehand to persuade a record label to sign them, with very little reward.