For one thing, fans who contribute get a tangible reward from the artists. Cekay says his "fuelers" had a levelof involvement that went beyond seeing one of his shows. Depending on how much money someonecontributed, that person would receive a highlights DVD, mp3s or a books of poetry that inspired the music.Isaiah Singer Anthony Cekay's cousin Christopher Allen, who fueled Cekay's project, with Anthony Cekay and BrainMeece. Allen won a t-shirt in a raffle Cekay held each week to fuel the project.Yancey Strickler, a co-founder of a crowdfunding site called Kickstarter , says crowdfunding is a business
model that lies somewhere between commerce and patronage. Musicians get funding, but fans get somethingtoo: They get access."People like knowing where something is coming from and what the process has been to get there, and itgives you [as a consumer] an opportunity to be involved in a way that you never would otherwise," Strickler says.The idea of selling seats to the creative process is nothing new. In fact, Brian Meece, a co-creator of RocketHub, says crowdfunding is a throwback a throw
back."We sometimes say Beethoven-plus-social-media equals crowdfunding," he says. "Because back inBeethoven's day, he had patrons basically give him financial contributions so he could continue his work.And that's how he got paid."The difference is that instead a handful of patrons funding an artist, crowdfunding has allowed more peopleto play that role. But despite the success that some artists have seen using crowdfunding, music researcherssay it's not a replacement for the traditional record companies."I think the crowdfunding aspect is interesting, but shouldn't be overestimated," says Mark Mulligan, vicepresident and research director of Forrester Research.