The Direct-to-Fan model, a business model used by independent artists to distribute their work, bypasses the major record label model that historically controlled radio, venue, and distribution channels, and lets the artist and its team identify those fans, market directly to and develop relationships with them. Direct-to-fan models encourage a direct engagement between the artist and their fans, knowing who they are building the artist's brand, and developing the artist-to-fan relationship over time; they have been developing rapidly in recent years and are thought to surpass the traditional record label model as the main way to distribute and market creative work in the near future.
Which of the following, if true, would most strongly support the prediction that direct-to-fan distribution models will continue and increase in being an important distribution method in the foreseeable future?
A) Direct-to-fan has been growing significantly in the last few years, showing strong growth in both established and developing markets
B) Direct-to-fan is based on disruptive technologies, , including social networking platforms, that are predicted to grow significantly in reach and use intensity in the foreseeable future and be a permanent fixture of the way we live, communicate and entertain ourselves
C) Alternatives to direct-to-fan have been declining substantially in the last few years; those alternatives are considered weak by most sector experts
D) Many of the traditional record label are in crisis, with a long series of bankruptcies and restructurings plaguing the industry
E) Direct-to-fan is more convenient for fans and offers a range of advantages for artists, such as more favorable monetization, that are difficult to ignore