In Praise Of Commercial Culture

Does a market economy encourage or discourage music, literature, and the visual arts? Do economic forces of supply and demand help or harm the pursuit of creativity? This book seeks to redress the current intellectual and popular balance and to encourage a more favorable attitude toward the commercialization of culture that we associate with modernity. Economist Tyler Cowen argues that the capitalist market economy is a vital but underappreciated institutional framework for supporting a plurality of co-existing artistic visions, providing a steady stream of new and satisfying creations, supporting both high and low culture, helping consumers and artists refine their tastes, and paying homage to the past by capturing, reproducing, and disseminating it. Contemporary culture, Cowen argues, is flourishing in its various manifestations, including the visual arts, literature, music, architecture, and the cinema. Successful high culture usually comes out of a healthy and prosperous popular culture. Shakespeare and Mozart were highly popular in their own time. Beethoven's later, less accessible music was made possible in part by his early popularity. Today, consumer demand ensures that archival blues recordings, a wide array of past and current symphonies, and this week's Top 40 hit sit side by side in the music megastore. High and low culture indeed complement each other. Cowen's philosophy of cultural optimism stands in opposition to the many varieties of cultural pessimism found among conservatives, neo-conservatives, the Frankfurt School, and some versions of the political correctness and multiculturalist movements, as well as historical figures, including Rousseau and Plato. He shows that even when contemporary culture is thriving, it appears degenerate, as evidenced by the widespread acceptance of pessimism. He ends by considering the reasons why cultural pessimism has such a powerful hold on intellectuals and opinion-makers.

A Frenchman rents a Hollywood movie. A Thai schoolgirl mimics Madonna. Saddam Hussein chooses Frank Sinatra's "My Way" as the theme song for his fifty-fourth birthday. It is a commonplace that globalization is subverting local culture. But is it helping as much as it hurts? In this strikingly original treatment of a fiercely debated issue, Tyler Cowen makes a bold new case for a more sympathetic understanding of cross-cultural trade. Creative Destruction brings not stale suppositions but an economist's eye to bear on an age-old question: Are market exchange and aesthetic quality friends or foes? On the whole, argues Cowen in clear and vigorous prose, they are friends. Cultural "destruction" breeds not artistic demise but diversity. Through an array of colorful examples from the areas where globalization's critics have been most vocal, Cowen asks what happens when cultures collide through trade, whether technology destroys native arts, why (and whether) Hollywood movies rule the world, whether "globalized" culture is dumbing down societies everywhere, and if national cultures matter at all. Scrutinizing such manifestations of "indigenous" culture as the steel band ensembles of Trinidad, Indian handweaving, and music from Zaire, Cowen finds that they are more vibrant than ever--thanks largely to cross-cultural trade. For all the pressures that market forces exert on individual cultures, diversity typically increases within society, even when cultures become more like each other. Trade enhances the range of individual choice, yielding forms of expression within cultures that flower as never before. While some see cultural decline as a half-empty glass, Cowen sees it as a glass half-full with the stirrings of cultural brilliance. Not all readers will agree, but all will want a say in the debate this exceptional book will stir.

In a world where more people know who Princess Di was than who their own senators are, where Graceland draws more visitors per year than the White House, and where Michael Jordan is an industry unto himself, fame and celebrity are central currencies. In this intriguing book, Tyler Cowen explores and elucidates the economics of fame. Fame motivates the talented and draws like-minded fans together. But it also may put profitability ahead of quality, visibility above subtlety, and privacy out of reach. The separation of fame and merit is one of the central dilemmas Cowen considers in his account of the modern market economy. He shows how fame is produced, outlines the principles that govern who becomes famous and why, and discusses whether fame-seeking behavior harmonizes individual and social interests or corrupts social discourse and degrades culture. Most pertinently, Cowen considers the implications of modern fame for creativity, privacy, and morality. Where critics from Plato to Allan Bloom have decried the quest for fame, Cowen takes a more pragmatic, optimistic view. He identifies the benefits of a fame-intensive society and makes a persuasive case that however bad fame may turn out to be for the famous, it is generally good for society and culture.

One part riveting account of fieldwork and one part rigorous academic study, Brand New China offers a unique perspective on the advertising and marketing culture of China. Jing Wang’s experiences in the disparate worlds of Beijing advertising agencies and the U.S. academy allow her to share a unique perspective on China during its accelerated reintegration into the global market system. Brand New China offers a detailed, penetrating, and up-to-date portrayal of branding and advertising in contemporary China. Wang takes us inside an advertising agency to show the influence of American branding theories and models. She also examines the impact of new media practices on Chinese advertising, deliberates on the convergence of grassroots creative culture and viral marketing strategies, samples successful advertising campaigns, provides practical insights about Chinese consumer segments, and offers methodological reflections on pop culture and advertising research. This book unveils a “brand new” China that is under the sway of the ideology of global partnership while struggling not to become a mirror image of the United States. Wang takes on the task of showing where Western thinking works in China, where it does not, and, perhaps most important, where it creates opportunities for cross-fertilization. Thanks to its combination of engaging vignettes from the advertising world and thorough research that contextualizes these vignettes, Brand New China will be of interest to industry participants, students of popular culture, and the general reading public interested in learning about a rapidly transforming Chinese society.

The Business of Culture examines the rise of Chinese “cultural entrepreneurs,” businesspeople who risked financial well-being and reputation by investing in multiple cultural enterprises in the late nineteenth and twentieth centuries. Rich in biographical detail, the interlinked case studies featured in this volume introduce three distinct archetypes: the cultural personality, the tycoon, and the collective enterprise. These portraits reveal how rapidly evolving technologies and growing transregional ties created fertile conditions for business success in the cultural sphere. They also highlight strategies used by cultural entrepreneurs around the world today.

"Sibao today is a cluster of impoverished villages in the mountains of western Fujian. Yet from the late seventeenth through the early twentieth century, it was home to a flourishing publishing industry. Through itinerant booksellers and branch bookshops managed by Sibao natives, this industry supplied much of south China with cheap educational texts, household guides, medical handbooks, and fortune-telling manuals.It is precisely the ordinariness of Sibao imprints that make them valuable for the study of commercial publishing, the text-production process, and the geographical and social expansion of book culture in Chinese society. In a study with important implications for cultural and economic history, Cynthia Brokaw describes rural, lower-level publishing and bookselling operations at the end of the imperial period. Commerce in Culture traces how the poverty and isolation of Sibao necessitated a bare-bones approach to publishing and bookselling and how the Hakka identity of the Sibao publishers shaped the configuration of their distribution networks and even the nature of their publications.Sibao’s industry reveals two major trends in print culture: the geographical extension of commercial woodblock publishing to hinterlands previously untouched by commercial book culture and the related social penetration of texts to lower-status levels of the population."

An against-the-grain polemic on American capitalism from New York Times bestselling author Tyler Cowen. We love to hate the 800-pound gorilla. Walmart and Amazon destroy communities and small businesses. Facebook turns us into addicts while putting our personal data at risk. From skeptical politicians like Bernie Sanders who, at a 2016 presidential campaign rally said, “If a bank is too big to fail, it is too big to exist,” to millennials, only 42 percent of whom support capitalism, belief in big business is at an all-time low. But are big companies inherently evil? If business is so bad, why does it remain so integral to the basic functioning of America? Economist and bestselling author Tyler Cowen says our biggest problem is that we don’t love business enough. In Big Business, Cowen puts forth an impassioned defense of corporations and their essential role in a balanced, productive, and progressive society. He dismantles common misconceptions and untangles conflicting intuitions. According to a 2016 Gallup survey, only 12 percent of Americans trust big business “quite a lot,” and only 6 percent trust it “a great deal.” Yet Americans as a group are remarkably willing to trust businesses, whether in the form of buying a new phone on the day of its release or simply showing up to work in the expectation they will be paid. Cowen illuminates the crucial role businesses play in spurring innovation, rewarding talent and hard work, and creating the bounty on which we’ve all come to depend.

Besieged during the Franco-Prussian War, its buildings damaged, its finances mired in debt, Paris was a city in crisis. Alexia Yates chronicles the private actors and networks, practices and politics, that spurred the largest building boom of the nineteenth century, turning city-making into big business in the French capital.