Could you elaborate on that, please?
It seems that RIAA and MPAA are the luckiest of these middle men and the most persistent, and that is why they came to make such a huge profit from what was relatively obscure nook of an intellectual property regulation. After all, the concept of an artist having the privileged right to his, already published, work comes first, and all the delegations and copyright issues come second.
DRM is designed to keep power in the hands of rights holder, the creator, and, by necessity, away from the consumer, and only the monstrous bulk of MPAA allowed them to effectively pretend that they are not the simple middle men, but the focus and origin of all the rights that anybody can ever have on IP.