I never said music was worthless, I said:
Restaurants are supposed to play a public broadcasting fee (in Canada, the CRTC issues licences to that effect), thereby adding the general pool of funds that royalties are paid out of (see also, the application to CanCon for Canadian recording artists). 150 years ago sheet music the prime musical ripoff mechanism, and corrupted owners of buildings (a more modern version might include TicketMaster).
In other replies here, I’ve mentioned Patreon, I’m not sure how you view them as a service when you write things like the above. People fund the month-to-month basic expenses of creative talents they appreciate and in return, hopefully the creative talent produces what they’ve written down as a commitment(s) to that funding. It can change any month. I see this as for more useful than the funds / [big] project that KickStarter is known for. That’s just asking for bad management in a lot of cases.
Again, music isn’t worthless but the mediums(s) that the target demographics that bought the majority of the music in the past 60 years either have the music they want (and remember liking, so they spend money on luxury tickets) and don’t seem to find value in paying over and over and over again in different formats for that music (“I bought the record/tape/CD once, why should I buy it again?” … this in contrast with going to see the same talents repeatedly live, apparently).
The only distribution system that really matters now is the one that the creative talent choses to utilize. They aren’t forced into a label system. Or even a traditional copyright system, if they so choose.
But again, I don’t see it as nonsense.
