In the rapidly evolving world of content creation and distribution, the traditional roles of publishers, distributors, and record companies are being reshaped. The phenomenon of disintermediation—the reduction or elimination of intermediaries in the supply chain—is not new, but its impact on the content industry is profound. With the rise of the internet, the barriers to entry for content creators have lowered, allowing for direct engagement with audiences. This shift is not only changing how content is marketed and consumed but also redefining the very concept of who an artist is.
The music industry serves as a prime example of disintermediation. Streaming services and downloadable MP3 files challenge the relevance of CDs, just as radio broadcasts once did. The internet has become a platform for niche products and has democratized the marketing landscape, reducing the need for costly branding campaigns and complex distribution networks. According to a report by the International Federation of the Phonographic Industry (IFPI), global streaming revenue grew by 19.9% in 2021, highlighting the shift towards digital consumption of music (IFPI Global Music Report 2022).
This trend is likely to rebalance the relationship between artists and commercial entities. The definition of "artist" is expanding to include all creative individuals who now have the tools to brand themselves and directly offer their services and products to consumers. This return to a pre-industrial model, where artisans were central to the economy, comes with increased work mobility and a fluid job market.
Despite these changes, traditional content brokers are not disappearing; they are transforming. They continue to provide essential services, such as quality control, which is increasingly valuable in an era where self-publishing can lead to a glut of subpar content. Consumers, overwhelmed by the sheer volume of available content, are willing to pay for reliable content rating services. Intermediaries also manage relationships, offering centralized databases of clients that streamline the time to market and enhance efficiency.
Intermediaries are adapting to new revenue models. Content creators can focus on their craft while outsourcing distribution and relationship management. The network effects and economies of scale mean that successful products can become more profitable over time. Consequently, royalties for electronic versions of works are rising, with some publishers offering up to 50% (Authors Guild Survey of Literary Market).
Retailers are increasingly engaging directly with content creators, blurring the lines between different types of intermediaries. For instance, Barnes & Noble has become a publisher in its own right, while many authors sell directly to their audience. The introduction of Print On Demand (POD) technology is expected to create new intermediary roles, proving that intermediation is not disappearing but rather evolving.
The content distribution landscape is in a state of flux, with traditional roles being redefined, outsourced, or created anew. It's a dynamic environment ripe with opportunities for those who can navigate the changes. As the industry continues to adapt, content creators and consumers alike will benefit from the increased accessibility and diversity of content.
In conclusion, the disintermediation of content is a complex, ongoing process that is reshaping the industry. While traditional content brokers are changing, their roles remain crucial in a market that values quality and efficiency. The future of content distribution is vibrant and promises to be an exciting journey for all involved.
The Ubiquitous Britannica 2015
Encyclopedia Britannica is now online and as a DVD. The print edition has been discontinued.
Pears Cyclopaedia 2014-5 Edition: Human Knowledge Encapsulated
Pears Cyclopaedia is the last remaining one volume reference work.
Envy as the Foundation of Capitalism
Envy is either destructive, or, as in the case of capitalism, constructive.
