Patrons, Curators, Inventors and Thieves

The Storytelling Contest of the Cultural Industries in the Digital Age

I spent most of my career working in industries referred to as 'cultural': music, film, theatre, and publishing.

So, why write a book?

Early in the new millennium the recorded music business was in decline globally. 

Being on the frontline of a digital revolution, it faced an existential crisis. It believed it was a victim of the explosion of unauthorised peer-to-peer filesharing sites such as Napster, the first in a long line of 'pirate' sites. 

Why was the sector finding it so hard to adapt? Why could people see only threats rather than opportunities? 

I was very fortunate that my employer (EMI Music) supported my desire to engage in serious research to address this question. The resulting part-time Doctorate in Business Administration (DBA) comes with a moral obligation to publish one's research in one form or another. Academic journals have a long lead-time, so I chose the quicker publishing model known as the 'academic monograph'. This ensures targeted international distribution of the book through libraries which give institutional subscription access to academic researchers in relevant fields. The downside of this strategy is that the book is not accessible to a wider readership, so as a 'taster' I have provided below a few summarised and updated extracts to view online.  

Three reasons to read the book

At its most optimistic, the book aims to contribute to a reform of copyright which would promote a more equitable society.